• In late 2015 I was approached by St Paul’s Greenhouse, which is an incubator program focused on social innovation at the University of Waterloo, with a film project that really piqued my interest. I quickly learned about an interesting social venture called Landmine Boys that was doing innovative work in landmine diffusion, and immediately wanted to get involved. During the Christmas holidays I travelled halfway across the world to Cambodia where I documented prototype testing and attempted to address the social issues these invisible remnants of war still have on Cambodian society, decades after devastating conflict.

    It wasn’t until I was on the ground in Cambodia that I met Landmine Boys co-founder Richard Yim in person.

    It wasn’t long after we began speaking to each other (maybe five minutes) that I became totally inspired. It was hard to ignore his incredible passion and drive for making Cambodia a safe place to live for future generations. During my two weeks in Cambodia we both quickly developed a mutual respect and admiration for each other’s process and craft, which helped motivate us when times got tough. There is still so much work to be done on the ground in Cambodia, but Richard’s incredible passion in tackling the issue of landmines leaves me with hope for the future. Expect big things from the Landmine Boys.

  • Dead End. Upper Wentworth, Hamilton, ON // July 2015

  • Deep Woods // Visual Arts Exhibition, Winter/Spring 2015

    Less than two weeks left until Deep Woods, an exhibition curated by Patrick Macaulay, will leave Harbourfront Centre, its home for the past four months (where does the time go!).

    If you’re in the area, swing by and take a look at a collection of images I contributed to the exhibit before June 14. Deep Woods showcases work that explores the country’s “vast forests and wild untamed environments” by various talented Canadian artists. 

    And below is a short statement on the work I contributed this year:

    “The photographs presented are vignettes from a larger body of work entitled, Cousin, We Have Grown Up. The expansive project tells the story of Jon who, having lived in a tipi for three years, directly participated in procuring his own food, clothing and shelter. Having adopted this sustainable lifestyle, Jon was able to develop an intimate connection with nature as he began to discover his true, raw self.

    The series depicts the complexities and contradictions of a man coming to terms with questions that involve self-identity, rejection of modern society, and the difficulties in establishing an authentic connection with nature.

    The grid presented not only serves as a narrative of Jon’s life, but also functions as a self-reflexive exploration of the natural world and the artist’s evolving relationship with it.”

  • Bobcaygeon, ON. 05/23/2015

    Downtown Toronto. // March 2015
    Bobcaygeon. // May 2015