Time on a Wall #10
Shooting in different cities, I find I’m drawn to different things about each. I love the alleys in Boston, the terraces in New Orleans, the people in NYC, and among other things, the street art and structures in LA. If I’m shooting street art, I always try to include the environment in a way that adds something new to the art itself. I only feel comfortable selling images with street art if I feel like I’m creating something new. I’m always drawn to organizations of things. Piles of crap in alleyways, years of posters, slapped on top of each other, torn, tattered geometries and snapshots of cultural moments in time.
Shooting in different cities, I find I’m drawn to different things about each. I love the alleys in Boston, the terraces in New Orleans, the people in NYC, and among other things, the street art and structures in LA. If I’m shooting street art, I always try to include the environment in a way that adds something new to the art itself. I only feel comfortable selling images with street art if I feel like I’m creating something new. I’m always drawn to organizations of things. Piles of crap in alleyways, years of posters, slapped on top of each other, torn, tattered geometries and snapshots of cultural moments in time.
Shooting in different cities, I find I’m drawn to different things about each. I love the alleys in Boston, the terraces in New Orleans, the people in NYC, and among other things, the street art and structures in LA. If I’m shooting street art, I always try to include the environment in a way that adds something new to the art itself. I only feel comfortable selling images with street art if I feel like I’m creating something new. I’m always drawn to organizations of things. Piles of crap in alleyways, years of posters, slapped on top of each other, torn, tattered geometries and snapshots of cultural moments in time.