INTIMATIONS project statement

My children allowed me to photograph them, to explore my view of them - perhaps revealing as much about my character as theirs - but I hope with honest insight into theirs. They simply trusted me as their mother. That intimacy of view is a privilege I have tried to respect.

I needed to continue to photograph after the three were born and while raising them. I understood that the particular limitations of parenthood were, in fact, an opportunity. In his article, "The Thing Itself," Bill Jay bemoans the fact that "the umbilical cord between life and art has been severed," and explains that "good photographers have a deep commitment to, and involvement with their subjects, and through photography…they are communicating their understanding and passion to others." I felt I could grow artistically by exploring what I deeply cared about.

Over the years of this work, I was influenced by the controversies surrounding photography of children. A speech on the topic by Barbara DeGenevieve of San Jose State University titled "Artist's Rights vs. Human Rights" helped to guide my thinking. In my gut I seemed to have a clear boundary between psychologically safe and unsafe views into my kids' worlds. But when it came time to go public with the photographs, I suddenly doubted my judgment. I discovered some instinctual conflict of interest between my artistic goals for the work and my job as a parent.

After a lot of thought, I decided that I was projecting doubts of my own onto my children where they did not belong. I believe I have carefully crafted images of which my children are proud now, and will be later, as adults.

This group of images goes beyond my kids to a slightly broader family life of cousins and kid parties and family pets.