Katherine Murphy

What is your Senior Thesis?

I am combining fragments of my poems to paired images in an attempt to express the vast and intimate world two people create when they, themselves, are together.

Some are siblings, everything is known, everything is understood.
Some are lovers, he does not always understand her. Some things stay hidden.
Some are strangers, nothing is known or understood, yet.
Some are you and only you, everything circling within yourself.
(They Meet)


What motivated you to start this project? What inspires your creative process?

I have been writing for as long as I can remember and have used it as an escape into my own world, one of slightly different sound and colors, animals and energy, and come back with a way to tell this world what I mean. I knew I wanted to connect words with my other passion, photography, and hope that such personal work can be relatable to all, which I believe is possible the less I explain where it’s all coming from and allow others to draw from their own experiences.


Do you work in film or digital? Please describe any technique or process relevant to your project.

Mainly digital, some 35 mm. I see two images that compliment one another after I have taken them, intuitively I know they will go together, and then I introduce them to poem fragments. They exist separately, but are drawn toward one another to make something stronger.

Is this a new project or a continuation of previous work?

It’s a new way to express the two ways I work, words and imagery. I am planning on continuing this work and, right now, to me, the work is infinite.

How has your work developed or changed over time?

The introducing of words and the intent behind pairing images is new for me, but the style of my work and what drives me is something that I’ve always had.

What artists or works of art have inspired or influenced you?

Poets Robert Creeley and Richard Grossman. Painter of Poems, Kenneth Patchen.

What kind of response do you hope to get from your viewers? Is there a certain experience you want people to take away from your photographs?

Calm uncertainty, to think of her; to think of him; to think your own capacity.

What is the ideal setting to view your work? Do you picture your photographs in a book? In a gallery?

I’d like to make a book. Something you can hold, and hide and bring with you.

Do you have any ideas or plans for future work?

KEEP GOING

What do you see yourself doing after graduation?

GONNA KEEP GOING

Elizabeth Hayes

What is your Senior Thesis?

“Plus ça change, plus c'est la même chose.”
Dukes County is a series of photographs shot on the island of Martha’s Vineyard. These images are meant to take the viewer to an unfamiliar world, one driven by the feeling of immeasurable time. By providing an evasion from reality and a fantastical journey, this body of work calls attention to the idea that there is more to life than what we may see.

French Saying. Translation: “The more things change, the more they stay the same.”

What motivated you to start this project? What inspires your creative process?

My passion is photographing the landscape and I really wanted to have the opportunity to combine this passion with something else I love: my home. To be able to return to a land that is very much still untouched by the hand of man, yet also a place I find enchanting, is on the level of winning the lottery. I’m inspired by much of what is around me and my memories of the way the water splashes on rocks out in the sea, birds flying, the trees as they move in the wind, colors, and natural occurrences.

Do you work in film or digital? Please describe any technique or process relevant to your project.

I work with a 4x5 shooting film. With color I scan the film and print digitally, but my black and white is done traditionally in the darkroom. Sometimes I use a pinhole camera, though most often I just try to make imperfections happen using my little Linhof.

Is this a new project or a continuation of previous work?

The style and subject matter is very much rooted in how I typically work, though this project is new as I am basing it on location I haven’t yet worked.

How has your work developed or changed over time?

For one, I used to only photograph people, but I began exploring and realizing that there is more than people out there to be photographed.

What artists or works of art have inspired or influenced you?

Diving Bell and the Butterfly (movie), Mark Rothko (painter), Uta Barth (photographer), Sally Mann (photographer), A Short History of the Shadow by Charles Wright (poetry). So much more…

What kind of response do you hope to get from your viewers? Is there a certain experience you want people to take away from your photographs?

“…to be lost is to be fully present, and to be fully present is to be capable of being in uncertainty.”
– Rebecca Solnit
I would hope the viewer becomes immersed into this imaginative reality I have created and capable of joining me on this journey. And I suppose it would be nice for people to like the images as well.

What is the ideal setting to view your work? Do you picture your photographs in a book? In a gallery?

I believe my work is best suited in a gallery setting. The book is too singular and compacted, there needs to be a physical immersion between the viewer and the photographs that the book is just not capable of establishing.

Do you have any ideas or plans for future work?

Oh sure. I’ve been thinking a lot about color theory and imperfections and getting excited to shoot for my final semester. Expect there to be an 8x10 camera involved.

What do you see yourself doing after graduation?

Exploring life and having those little sour neon gummi worms that I enjoy oh so much.

Rebecca Buonopane

What is your senior thesis?

My project is a reflection of my travels from the summer of 2009 up until now. I have been staying with family and friends mainly in the New England area, bouncing around from Boston to Lowell, MA, to Nashua, NH, Deer Isle, ME, Martha’s Vineyard, MA and Long Island, NY. This series depicts my transitory states, both my physical location and state of mind. In order to make an unfamiliar place feel like home, I look for the inconspicuous details of a place, a person, object, or even gesture that suggest an elusive history, yet invariably possess an essence of character. When I am “home,” my apartment in Boston, or my father’s house, I reexamine what I believe represents my identity. Without limiting my subject matter, I instinctually photograph what is around me, what emerges is not only evidence of where I’ve been and whom I’ve met but the phenomenon in which intuition and circumstance converge.

What motivated you to start this project? What inspires your creative process?

I wanted to photograph more spontaneously. When I used a large format camera to photograph my twin sister and myself, everything was very scheduled. I get inspired by every place I go and every person I encounter, so I love having the freedom to shoot whenever the mood strikes.

Do you work in film or digital? Please describe any technique or process relevant to your project.

I always shoot in color. Usually, I use medium format film, but sometimes I shoot with a digital camera as well. I print digitally whether I use film or not.

Is this a new project or a continuation of previous work?

This is a completely new project.

How has your work developed or changed over time?

My past two projects, photographing my grandmother’s house and self-portraits with my twin sister, have both been based on the passage of time. My grandmother’s house had been redecorated only once in 1952; I was amazed by how it never seemed to change. I started the portraiture project with my sister to explore the different dynamics of our relationship after we moved out of our parents’ house. Time is still a thread that runs through my art. My current work emphasizes the transience of life and appreciating the moment.

What artists or works of art have inspired or influenced you?

My grandmother, Jane Ritchie, is the most influential artist in my life. She was a landscape painter based in Long Island, NY. Painters like Edward Hopper, Andrew Wyeth, and Mary Cassatt also inspire me. Photographers I have been looking at lately are Robert and Shana ParkeHarrison, Alessandra Sanguinetti, Rinko Kawauchi, Marni Horwitz, and Helen Van Meene. Books also really influence my work. Right now, I am reading On the Road by Jack Kerouac and Steppenwolf by Hermann Hesse.

What kind of response do you hope to get from your viewers? Is there a certain experience you want people to take away from your photographs?

I’d like for people to spend some time looking at my photographs and let everything else melt away, to be fully present when they are standing in front of them. My work is about deeply seeing, so I hope that people can enter into my photographs and experience that.

What is the ideal setting to view your work? Do you picture your photographs in a book? In a gallery?

A gallery would be the best setting. I’d like my photographs to exist on a larger scale so the viewer can observe all the details of the image.

Do you have any ideas or plans for future work?

I have lots of new ideas but nothing fully developed right now.

What do you see yourself doing after graduation?

I want to go to grad school, but I plan on taking a few years off first. In the meantime, I’d like to travel and see where life takes me.

Kate Atkins

What is your senior thesis?

It’s still a struggle trying to articulate what I am doing- right now I am mostly focused on aesthetics rather than concept. Here’s the current artist statement, subject to change, transform, adapt, and become more solid:

To the centre of the city where all roads meet waiting for you...
To the centre of the city in the night, waiting for you...
-Joy Division, Shadowplay

Shadows render light. Ambience becomes
of the desolate street lit only by
a solitary streetlight. The city does
not sleep, it breathes. Echoes become
silence, the empty streets deny human
existence; for the hours to come.

The lurker, wanderer, drifter has
eyes on the prowl while
embracing the light that passes
through darkness.

In the shadows, I wait...
still.

What motivated you to start this project? What inspires your creative process?

Ever since I had a night photography assignment sophomore year, I have always had an urge to return to it. First I start with a location in mind, sometimes with ideas of images I would like to capture, but mostly I rely on “educated” wandering and lurking about. I think I have exhausted Boston as it has become so familiar, but there are always surprises.

Do you work in film or digital? Please describe any technique or process relevant to your project.

I choose to shoot in black and white- 35 mm for the grain and grit, in the traditional darkroom fashion. I will also use selenium to tone the prints.

Is this a new project or a continuation of previous work?

At its essence this project has the same feel I hope to capture within photography which involves atmospheres or moods. I have always been drawn to desolation when photographing, and its something I can’t really explain why.

How has your work developed or changed over time?

The eye always changes, being drawn to different aspects of a frame to make a composition. I perceive and manipulate the subject at hand a lot more thoughtfully, even when I shoot 35 mm.

What artists or works of art have inspired or influenced you?

In terms of my current work, my major influence is Brassai. A lot of my inspirations are not related directly to night photography. Film is a great inspiration; the beauty and fragility of light playing into metaphors in Ingmar Bergman movies- his cinematography is unrivaled.

What kind of response do you hope to get from your viewers? Is there a certain experience you want people to take away from your photographs?

The work is apolitical and without a real social context, I’m not forcing an idea or concept on the viewer. It is more an appreciation of beauty, being a pictorial photographer, a collector of alleyways, shadows and light. I want the viewer to sense the eeriness and be rattled by the strong contrast of the prints.

What is the ideal setting to view your work? Do you picture your photographs in a book? In a gallery?

I like the intimate qualities of a book, and I think that would be the most suitable for the work rather than being displayed on a wall. I would like the work to be held and dog-eared at the corners.

Do you have any ideas or plans for future work?

I intend to continue shooting and let the projects fall where they may. Maybe the project is just to continue. I’m actually having a rough time creating at present. I’m going to push myself next semester and try to delve into the human aspects of nightlife or photograph subcultures as well as shoot in color. I’ve been looking at a lot of more portraiture based work like that of Anton Corbijn and Glen E. Friedman; of course seeing that Bruce Davidson exhibit really provoked me. A couple of other ideas have come about in my head; it would be interesting to capture activists/anarchists/radicals/thinkers/philosophers, etc and interview them about the struggle between living within the system and living out/fighting for ideals. I hope logistically I can pull it off; it’ll require some research and networking (Noam Chomsky is a professor at MIT!). Ever since I held a camera, my work has been quiet, but I am ready to show that I am loud and start putting myself out there as an artist.

What do you see yourself doing after graduation?

The real world will strike, unfortunately. Hopefully, I will be able to find work with the recession. I don't intend on going to graduate school, but I really have been thinking about getting into the field of art therapy. I really just want to create and be around those that are also compelled to do so in whatever medium at this point in my life. Highest priority is to move away to cities conducive to creativity- places like Asheville, NC, Portland, OR, Montreal, QC and Athens, GA are ideal locations to relocate, but NYC is always exciting. I don’t know where I’ll end up.

Anthony Scrocca

What is your senior thesis?

My senior thesis consists of work that has me pointing my camera at people in their cars during rush hour traffic.

What motivated you to start this project? What inspires your creative process?

My initial motivation to starting this project was the way the light cuts through the street, through traffic and finds itself in these peoples cars highlighting whatever they are or are not doing. Time of day, light, biking around the city and ultimately looking is what inspires me to do what I do.

Do you work in film or digital? Please describe any technique or process relevant to your project.

I work in film, and I scan my work and make inkjet prints. The most important part of the process to me is being receptive to my surroundings and reacting to what is going on around me and then thinking about it all later when the pictures are developed and a print is in front of me. It would be nice if pictures existed in my head, but there is just clutter up there.

Is this a new project or a continuation of previous work?

I have been working on this project for around a year at this point.

How has your work developed or changed over time?

Maybe it is less about how the work has developed and more how I have developed along with this work. I guess just trusting what I am doing and knowing that feeling what you are doing goes a long way.

What artists or works of art have inspired or influenced you?

Harry Callahan, Lee Friedlander, Alfred Hitchcock...

What kind of response do you hope to get from your viewers? Is there a certain experience you want people to take away from your photographs?

I guess I would like for people to take a break for a second and actually look. These moments are fleeting and probably not considered by most people who encounter them daily. They are pictures now, and because of that we are given a few more seconds to look and think about these people and these spaces, maybe to see something more than what is noticed in haste.

What is the ideal setting to view your work? Do you picture your photographs in a book? In a gallery?

I see them working in both settings really. Up until recently, I was just thinking of these single moments that we look into one at a time on a wall. But, the possibilities for other narratives is there in book form and maybe with time that idea could be fleshed out.

Do you have any ideas or plans for future work?

For me, actions go a lot further than ideas do.

What do you see yourself doing after graduation?

My only real plans consist of taking more pictures.

Kimberlie Sanders

What is your senior thesis?

Fire. It can be anything. The power that this element possesses is extraordinary. It holds the power to life, the power to take life away. I am fascinated with the endless ability it has to manipulate and destroy. I want to explore all aspects of the destruction that it can infer. I want to show the change from before fire touches an object to essentially and most literally the nothing and death that can be left by it. Most specifically I want to focus on the aftermath, the detail of the ash of an object that once was, and how it has been manipulated and changed.

What motivated you to start this project? What inspires your creative process?

It is a project that I have always wanted to challenge myself to pursue. It is also so much different than all the work I have done prior to this.

Do you work in film or digital? Please describe any technique or process relevant to your project.

I have been shooting a variety of film and digital for this project so far. The work at this point is a variety of medium and large format film that I scan, edit and print digitally, along with digitally shot prints.

Is this a new project or a continuation of previous work?

This is a completely new project for me.

How has your work developed or changed over time?

My work develops the more work I put into it. The more that I shoot the more that I learn about what I want to do differently or keep the same. This project is transforming as we speak, I believe, to be more about the aftermath and destruction of fire, rather than the act of burning itself.

What artists or works of art have inspired or influenced you?

Whenever I am asked this question my mind goes blank for some reason even though I am constantly inspired and influenced by other artists work. I am inspired everyday by everything around me. Some favorites off the top of my head are: Susan Derges, Nigel Poor, Nina Katchadourian, Stefan Sagmeister, Erik Spiekermann, Marian Bantjes, M. C. Escher, Willem Bosoph

What kind of response do you hope to get from your viewers? Is there a certain experience you want people to take away from your photographs?

I don’t necessarily want to evoke a particular response from viewers. I simply want them to evoke some kind of opinion and thought process in interest on a personal level. If nothing other than evoking some thought, that would be more than enough.

What is the ideal setting to view your work? Do you picture your photographs in a book? In a gallery?

I feel like I generally make my work to be displayed large, so a gallery setting might be ideal. Bookmaking/binding is a passion of mine as well, so I constantly see everything I do being transcribed in that form as well.

Do you have any ideas or plans for future work?

I constantly find new ideas for work to pursue, but it is either not the right time or not a developed enough plan. I cannot wait to have more time to pursue so many of these tangents simultaneously.

What do you see yourself doing after graduation?

I plan to travel as much as possible, for as long as possible, making as many pictures as possible along the way. I’m going to attempt to experience and see as much as I can until it is financially unrealistic. I’m going to continue making pictures, and I'll have so much more time to do so. I plan on working when I can whether it is in graphic design, photography, or what have you. At some point I might want to pursue graduate school but definitely not for a while.

Jeremy Powitz

What is your senior thesis?

I pay a lot of attention to the options for entering adulthood that my contemporaries have. There is no one clear way to become autonomous, no attainable right-of-passage that guarantees wisdom and livelihood. The culture around me only grants age with time; anything else is hard-won. With my camera, I illustrate a bit of what I observe and a bit of what I read.

What motivated you to start this project? What inspires your creative process?

My own struggle with 'what next' comes to mind…

Do you work in film or digital? Please describe any technique or process relevant to your project.

I love the way I work with a large ground-glass. The economy and decisions that System and View Cameras demand suit me well, so I shoot film, but I do my post production and printing digitally.

Is this a new project or a continuation of previous work?

This is not too unrelated to my work from last term, but it's somewhat different.

How has your work developed or changed over time?

My work continues to develop as I learn more. It's usually something I can only identify after a few months, in retrospect, though.

What artists or works of art have inspired or influenced you?

I'm very taken with The Door in the Floor right now (2004 Focus Features)

What kind of response do you hope to get from your viewers? Is there a certain experience you want people to take away from your photographs?

A country's youth of about 16 to 25 is perhaps its most useful resource. That's why militaries and the like are always comprised of this age group. I just find it interesting that that's sort of the abandoned age group in our current culture. We're expected to go from being children to adults overnight, but there doesn't seem to be a real job or place for us while we make that transformation. I hope to draw my viewers' interest to this.

What is the ideal setting to view your work? Do you picture your photographs in a book? In a gallery?

I think a book might suit these photos best.

Do you have any ideas or plans for future work?

My plan is mainly just to keep shooting, for now.

What do you see yourself doing after graduation?

After graduation, eh? I find myself running into the scope of my own project in answering that. Maybe grad school… Probably a job.

Bryan Martello

What is your senior thesis?

My work is trying to describe a time and place, the late hours of night when things seem different. I am interested in the ineffable and the intangible. More than just a time and place, this work is about a state of mind associated with the evening.

What motivated you to start this project? What inspires your creative process?

My previous work was less structured and less specific to a particular time of day. I really wanted to find a way to focus on one aspect, and I realized that it is innate for me to photograph at night.

Do you work in film or digital? Please describe any technique or process relevant to your project.

I shoot 4x5 color film, and then scan/edit/print them digitally.

Is this a new project or a continuation of previous work?

This work is definitely rooted in and inspired by my previous work, but it is its own project.

How has your work developed or changed over time?

I think my work has become more structured and self-reflective. It has also embraced time and place; my previous work was much more vague.

What artists or works of art have inspired or influenced you?

I'm really inspired by Francis Alys, Felix Gonzalez-Torres, Rinko Kawauchi, Gabriel Orozco, Andrew Wyeth, and Kiki Smith. I also take a lot of influence from film and video, especially David Lynch films.

What kind of response do you hope to get from your viewers? Is there a certain experience you want people to take away from your photographs?

My favorite part of art is when people bring their own references to their interpretations. I love hearing how different one person's interpretation of a piece can be from another's. I would like it for the viewer to at least get some overall sense of the bigger themes I am presenting, but really any personal experience with the work I think is important.

What is the ideal setting to view your work? Do you picture your photographs in a book? In a gallery?

The most ideal setting for my work is a gallery. I am very particular in the way I choose to install my work. I like books, but I don't like the linear constraints they have on my work.

Do you have any ideas or plans for future work?

I hope to work on this project for a while. I am interested in maybe incorporating video into the process, so I'd like to see where that will take this work.

What do you see yourself doing after graduation?

I plan on moving to New York City in the fall. I want to apply for as many things as I come across and see what happens. I think I have alot to figure out. I want to use these next few years as time to be experimental and open with my art.

Sarah Skwira

What is your senior thesis?

My work this semester is about my childhood and trying to hold onto the past. It’s about how my life and my family have changed since then and wanting to go back to a time when everything seemed to be perfect.

What motivated you to start this project? What inspires your creative process?

My family and my childhood are topics that have come up a few times in past projects, but I have never completely invested in them. The previous ideas I had for projects this semester have ultimately led me back to this topic.

Do you work in film or digital? Please describe any technique or process relevant to your project.

I shoot 4x5 color film and scan it to print digitally.

Is this a new project or a continuation of previous work?

This is a new project but it includes elements from my previous work.

How has your work developed or changed over time?

I started this semester wanting to photograph people in places where traumatic events happened. I had envisioned these people to be in natural environments and when this project didn’t work out, I decided to focus on people in nature. This led me to try to figure out what it was about nature that I liked, during which I realized that it reminded me of being home and being a child. Because this idea had come up a few times in my work before, I decided that this was a good time to fully commit to it.

What artists works of art have inspired or influenced you?

Some of my favorites are Justine Kurland, Katy Grannon, and Phillip-Lorca diCorcia. Also, as cheesy as it sounds, I am often inspired by my fellow classmates.

What kind of response do you hope to get from your viewers? Is there a certain experience you want people to take away from your photographs?

I hope that people can relate to my idea and appreciate my images.

What is the ideal setting to view your work? Do you picture your photographs in a book? In a gallery?

A gallery is the ideal setting but think it could also work in a book.

Do you have any ideas or plans for future work?

I don’t have an specific ideas for the future, but along with continuing to do more specific projects, landscape photography is something I will always be drawn to and enjoy doing.

What do you see yourself doing after graduation?

After graduation my plan is to move to New York City to continue making art and hopefully become a productive member of society.

Xareni Penichet

What is your senior thesis?

My senior thesis is based on the subconscious. But these images where based on patterns in nature.

What motivated you to start this project? What inspires your creative process?

I found my motivation in the mathematical aspects that are found in nature.

Do you work in film or digital? Please describe any technique or process relevant to your project.

I work on film and in the darkroom.

Is this a new project or a continuation of previous work?

This is my project form last semester.

How has your work developed or changed over time?

My work has developed into experimental work where I try to mix other elements besides photography, such as sculpture.

What artists or works of art have inspired or influenced you?

I am very interested in films, especially from the avant-garde period.

What kind of response do you hope to get from your viewers? Is there a certain experience you want people to take away from your photographs?

I would like my viewers to feel a little agitated, but still be able to enjoy the natural landscape.

What is the ideal setting to view your work? Do you picture your photographs in a book? In a gallery?

This work can work in both, but ideally, I would picture it in a gallery.

Do you have any ideas or plans for future work?

I would like to continue with the subconscious work and see where that takes me.

What do you see yourself doing after graduation?

I’m not sure, maybe grad school.

Ariel Anne Kessler

What is your senior thesis?

I was eight years old when my father was diagnosed with cancer, and eleven when he died. Because of this loss, I began hoarding his belongings in order to hold on to him. I believed that if I let go of the objects, I let go of him. Because his death was so traumatizing, and I was so young, I have little memory of his actual existence in my life. This allowed me to create a romanticized idea of his life. For this project, I want to photograph his belongings and his lack of existence in my life: photographing the absence of family with the replacement of decay and his possessions.

For my senior thesis, I want to create environments where his things entrap me, or follow me around. I want to create landscapes of abandonment and loneliness, and also create photographs depicting my moving forward and letting go of guilt.

What motivated you to start this project? What inspires your creative process?

After over thirteen years of therapy, and art therapy. I felt that this was the time in my life to begin this project. I felt that this year, being my last year of school, is a huge transitional period. In order for me to move on emotionally, and by using my photography I could let go of the parts of my past that are holding me back.

Do you work in film or digital? Please describe any technique or process relevant to your project.

I am a traditionalist. I only work with film and print my photographs myself in the darkroom. Being in the darkroom is a huge part of the process. To be able to see the work appear before my eyes in the darkroom is magical, and to really use my hands instead of a computer screen and printer allows me to feel more intimate with my work. I’m in the process of figuring out a good chemical combination to coat paper with silver gelatin paper. This way, I can continue working for the rest of my life without the need for a computer!

Is this a new project or a continuation of previous work?

It’s a bit of both. I feel that my previous work has always had these themes of quiet, voyeuristic, personal and isolating moments. This project is a collection of new ideas though that I have not explored yet.

What artists or works of art have inspired or influenced you?

For this project I’ve been looking at a lot of Roy DeCarava work. Not so much for content but for his printing style. He is one of my favorite photographers and I just love photographs where shadows are very dark. This project really allows me to go in that direction. My favorite artists over all consists of many, but specifically Imogen Cunningham, Sarah Moon, Mark Cohen, Debbie Fleming Caffery, Roger Ballen, Ralph Eugene Meatyard, Mary Ellen Mark, Sally Mann, Ralph Gibson, Elliot Erwitt, Anne Birgman, Emmet Gowin, Sebastião Salgado, and so on! I’m a bit obsessed with photography. If I could not be a photographer myself, I would have to work somehow with photography and photographers. So I am constantly reading, looking, and learning from photographers of all kinds.

What is the ideal setting to view your work? Do you picture your photographs in a book? In a gallery?

I am open to different ways of my work being presented. Whether in a book, gallery or an instillation, I want viewers to be engaged in the work. Although my work tends to be personal, I want viewers to be able to place themselves in the work.

Do you have any ideas or plans for future work?

I am constantly shooting, and I have a notebook filled with ideas that I want to work on once I am not in a school environment where it is assignment based. I have lots of ideas regarding nature overpowering man-made landscapes. As if no matter what man creates, nature will defeat it. I am interested in traveling to the South where plants grow and grow to the point of covering industrial landscapes.

What do you see yourself doing after graduation?

When I am finished with classes in May, I am moving to Portland, Oregon. Portland has a wonderful up and coming art scene that I am really interested in being a part of. I want to work a job that just pays the rent and then just be able to focus on my work. I’ve lived in Boston all of my life, I lived New York City for a few years, and now I want to travel more and be a part of artist communities out West and in other parts of the world. I want to eventually work with other traditional photographers to open up community darkrooms all over. Eventually I would like to go to Grad school but that won’t be for a while!

You can check out Ariel's website at www.arielkessler.com