My cameraless photographic projects interweave the personal and the political, reflecting on the rise of fascism in America, the strain on the environment, and my lived experiences as a queer woman. Using light-sensitive photographic materials such as film, paper and chemicals, I seek conditions that yield unpredictable results under strain, testing the resilience of materials that are traditionally considered fragile or delicate. Embracing chance, subverting “normal” photographic processes through glitch or error, researching evolving current events, and reflecting on my own stories and memories inform the physical act of making the work, where I create imperfect typologies and records of time, change, and memory.