Zeig Mal (Show Me)   The idea to shoot nude portraits came about as I rode the NYC subway and pretended not to notice, across the aisle, a man fumbling to remove his clothes and expose himself to me. He looked distinctly uncomfortable yet wholly determined in his goal. His great drive to reveal himself to the commuting populace was made more palpable by the fact that he hadn't quite worked out the logistics. In turn, I also felt uneasy but intrigued to find myself an unwitting participant in what could be seen as an unusual collaboration. Can clues about a person's interior life be revealed through the harmony of discomfort?  Photographed within the landscape of my subjects' homes and bound by elements of voyeurism, these portraits capture the interaction between artist and subject; the external tension of internal narratives. Transformed by the unfamiliar, these friends, strangers and acquaintances quietly bare themselves (in more than one sense) within the self-awareness of another's gaze. Using only available light and documentary techniques, these portraits study the balance between the unseen and the exposed.

Zeig Mal (Show Me)

The idea to shoot nude portraits came about as I rode the NYC subway and pretended not to notice, across the aisle, a man fumbling to remove his clothes and expose himself to me. He looked distinctly uncomfortable yet wholly determined in his goal. His great drive to reveal himself to the commuting populace was made more palpable by the fact that he hadn't quite worked out the logistics. In turn, I also felt uneasy but intrigued to find myself an unwitting participant in what could be seen as an unusual collaboration. Can clues about a person's interior life be revealed through the harmony of discomfort?

Photographed within the landscape of my subjects' homes and bound by elements of voyeurism, these portraits capture the interaction between artist and subject; the external tension of internal narratives. Transformed by the unfamiliar, these friends, strangers and acquaintances quietly bare themselves (in more than one sense) within the self-awareness of another's gaze. Using only available light and documentary techniques, these portraits study the balance between the unseen and the exposed.

Astoria #2a.jpg
greenpoint #9.jpg
bed-stuy#17.jpg
Cobble Hill #10a.jpg
clinton-hill-03.jpg
carroll-gardens-13.jpg
prospect-heights-02.jpg
midtown- #17a.jpg
park-slope-#17.jpg
carroll-gardens-#4.jpg
prospect-heights-07.jpg
greenpoint-#5.jpg
  Zeig Mal (Show Me)   The idea to shoot nude portraits came about as I rode the NYC subway and pretended not to notice, across the aisle, a man fumbling to remove his clothes and expose himself to me. He looked distinctly uncomfortable yet wholly determined in his goal. His great drive to reveal himself to the commuting populace was made more palpable by the fact that he hadn't quite worked out the logistics. In turn, I also felt uneasy but intrigued to find myself an unwitting participant in what could be seen as an unusual collaboration. Can clues about a person's interior life be revealed through the harmony of discomfort?  Photographed within the landscape of my subjects' homes and bound by elements of voyeurism, these portraits capture the interaction between artist and subject; the external tension of internal narratives. Transformed by the unfamiliar, these friends, strangers and acquaintances quietly bare themselves (in more than one sense) within the self-awareness of another's gaze. Using only available light and documentary techniques, these portraits study the balance between the unseen and the exposed.
Astoria #2a.jpg
greenpoint #9.jpg
bed-stuy#17.jpg
Cobble Hill #10a.jpg
clinton-hill-03.jpg
carroll-gardens-13.jpg
prospect-heights-02.jpg
midtown- #17a.jpg
park-slope-#17.jpg
carroll-gardens-#4.jpg
prospect-heights-07.jpg
greenpoint-#5.jpg

Zeig Mal (Show Me)

The idea to shoot nude portraits came about as I rode the NYC subway and pretended not to notice, across the aisle, a man fumbling to remove his clothes and expose himself to me. He looked distinctly uncomfortable yet wholly determined in his goal. His great drive to reveal himself to the commuting populace was made more palpable by the fact that he hadn't quite worked out the logistics. In turn, I also felt uneasy but intrigued to find myself an unwitting participant in what could be seen as an unusual collaboration. Can clues about a person's interior life be revealed through the harmony of discomfort?

Photographed within the landscape of my subjects' homes and bound by elements of voyeurism, these portraits capture the interaction between artist and subject; the external tension of internal narratives. Transformed by the unfamiliar, these friends, strangers and acquaintances quietly bare themselves (in more than one sense) within the self-awareness of another's gaze. Using only available light and documentary techniques, these portraits study the balance between the unseen and the exposed.

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