Captioned by year and location, the black and white images are timeless. Each image is carefully
composed of an untold story, happening before and continuing after the frame. They show visceral
details of the city: a man sprawled on the floor of a train, the spray from a city fountain, a bird in
flight, a shard of light on park railings, a crying child being carried down subway steps and couples
lost in each other. The people in the photographs appear constantly in motion, moving in and out
of frame against the static backdrop of angular city details and architectural canyons. Collectively
the photographs in JML NYC 02-23 impart not how the city looks, but how it feels.
This body of work encompasses a span of over two decades of living with a camera while
developing a cinematographic vocabulary that operates in a multitude of interlocking halves:
expression and comprehension, trauma and escape, private and public, the sensualist impulse
meeting the familial. These photographs are less about the city as a place, and more about what the
city is in my mind, and in my heart: the emotions, the questions, the desires Ive experienced, and
discovered.