Last year, I saw a portrait, #46 from Ikko Narahara’s work, Japanesque. It’s a portrait of a monk, shot through a reed mat, back lit. It was stunning, bold, and took such skill to capture. Immediately, I attempted to recreate it.

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My current series of photographs is inspired by this image, but with my own twist. Each portrait features a sitter from my community in Arizona, who is either a visual or performing artist. I approach each session with a collaborative mindset, using my relationship with the sitter to develop vector images that reflect their personality. During the session I start by projecting these images onto their face and body, using the resulting composite as a starting point for my final product.

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But my process doesn't end there. I also incorporate digital overlays that I designed after the image was taken, creating a juxtaposition between the sitter's identity and my own artistic interpretation. I manipulate color and transparency, adding elements that complement or contrast with the original image. The aim is for a bold, colorful portrait that demands attention and inspires the viewer to look further.

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I am constantly experimenting with new techniques to enhance my work. For example, if I were to display this series at an exhibition, I would project some of these overlays directly onto the image, blurring the line between reality and my interpretation. I am also exploring ways to overlay the images in a 3rd dimension, creating a more immersive experience for the viewer.

In short, my photography is not just about capturing a moment or a subject. It's about collaborating with my community, using projection mapping and digital editing techniques to push the boundaries of traditional portraiture, and ultimately creating an experience that challenges the viewer's perception of reality.