Moab (2018)

In this body of work, I explored a new material, kiln fused glass. Building on my previous use of lighting gels as overlays for photographs, with Moab it is the material echoes of glass—its transparency—as well as its physical fragility that appealed to me. In turning my attention to energy vortices in southeast Utah’s Upheaval Dome, I foregrounded the impact of landscape on the histories of both photography and in-person viewing on human experience in its myriad personal, historic, and cosmic dimensions.