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Similar to building a replica of the Parthenon in Nashville, an act undertaken in 1897 for the World’s Fair, taking a picture is an outlet for the impulse to replicate a time and a place so that we can experience it later and from a distance.


When photographing from the balcony of each room at the Holiday Inn that overlooks Centennial Park and Nashville’s Parthenon, I am aware these pictures might already exist. I bet you could cobble together this grid with images captured over the last fifty-five years that are tucked away in an attic, latent on an undeveloped roll of film, inaccessible on an outdated digital camera, lost in the sea of images on a smartphone, or in a photo book like the one that inspired this series — The Democratic Forest by William Eggleston, where he photographed from one of the rooms.


I am not attempting to create new images. Instead, I am using the hotel as a framework to consider the longing, curiosity, and desire to position ourselves outside of our immediate experience. Like the creation of the photograph, panorama, stereograph, and more recently, new forms of digital technology, this series reflects on the persistent urge to immerse ourselves in places other than where we are and questions whether we will ever be satisfied with our attempts to do so.

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