I came to photography through stained glass — which teaches you early
that light isn’t illumination, it’s the subject itself.

That lesson never left. My work circles botanical subjects as meditation —
looking until the familiar becomes strange, until a flower stops being a flower
and becomes something closer to a question. I wait more than I shoot.
I collaborate with light and with whatever the moment offers,
then step back and let the image find itself.

What you’ll find here is a long conversation with the natural world.
The camera as instrument of attention. And attention, I’ve come to believe,
is its own form of love.