In Sinking Into Dusk, photographs are weaved together from various road trips across the United States. Sparked by an innate curiosity of looking at the world, the use of manipulation is entirely natural to the process of photographing. The camera being the tool that bares witness to this deliberate act of play. Using whats at hand to create interventions made for the camera, a temporary facade.
Also present are a second thread of pictures which exist alongside the manipulated as whimsical findings in the real world. Blending together the two threads of photographs creates a space for questioning, what is real and what is not? The manipulation isn’t always apparent to the eye. It begins to blur the lines of what is real and what is manufactured. This playfulness embodies a childlike sensibility of viewing the world. Where not all things are what they are, but act as the raw material for imagining what things could be if you chose to make them that way. The work in it's entirety aims to subvert the subconscious. To create a world of photographs that work to disrupt what we expect to see. Going deep down a winding rabbit hole of dreams, and excavating imagined worlds back into reality.