I went to eleven states this month. Stayed in a cabin at the base of mount rainier in Washington, had cold fingers and kept my camera in a plastic bag because of the rain. Spent a week in Portland falling asleep in the yard in the afternoon and feeling nice the days melted. I got used to really caring about another person. Drove through the desert most daylight hours for days- woke up in a tent each morning not sure what it would look like outside- a river, a canyon, a valley, a dusty expanse, a beach, a meadow, a forest. Spent time in Utah looking at religious stuff and saw snow for the first time this year and where the horizon looked like it did when i was a kid. Colorado and Arizona were quiet we hiked in the rocks and ruins under the sun, Nevada i got very drunk in Vegas and played in the expensive surroundings. California every day was different and went by very quickly. Swam in the ocean every day and slept on friends' floors and hung out with someone new everyday. Went to every national park and abandoned site along the way it's always something I take for granted that my friends are almost all photographers and that the main purpose of an activity usually is and can be a place looking pretty and just wandering around looking. Drove to the airport before sunrise crying while it was pouring rain and then again the next morning.
For Abigail Stewart's FW2014 collection. I'm not very good at putting my photographs' infrastructure into words so here is Abigail's musing about the base of the shoot
"The real name of FW2014 is "The Terpsichoria," a reference to a ship, but everyone on the team just calls it "The Scar." The Scar is the title of Miéville's 2003 masterpiece of fiction, a book that blew my face off the first time through. It is a bizarre, metaphysical mystery set on a floating pirate city, on an Earth-like planet, where whole civilizations exist underwater and diplomacy is carried out via submarine between human beings and formidable rock lobster centaurs who tattoo their tails with military decorations and tribal histories. The creatures in this book are terrifying, the plot even more so; and China, like Kafka, is obsessed with architecture, so the descriptive sketches of the marine worlds were enough to inspire years of work in themselves. I just needed one scene, for one collection. Each piece, I thought, could be part of the setting: fish bones, mussel shells, numbing metallic saltwater."
model is ella pearson
hair and makeup by caroline baribeau
tattoo art by katy farmer
assistants were jess olm and jordan holberg