How are resonance and dissonance marked by an image that tells us the value of what we remember and how we forget. What can it say about Aristostle's quintessence as an investigation of the nature and existence of a void: "What is full cannot admit anything more else unto itself." The documentary photographer is not recording or preserving a truth; she's not quite telling lies. In images, she perserves her self, all the while corrupting absolutes.
I am inspired by simplicity and contrasts, moved by the rhythms of American Delta Blues, soul and bebop music and the foods of the American south. They evoke where I am from, another South--Saigon, Vietnam--the spices, swaying rhythms and slow drawls that are sewn into my DNA. I’m also curious about the social landscapes documented by American photographers and others who observe America--its stories--with a lyrical, outsider's eye. I write poetry and essays, am an admirer of the poetry of Emily Dickinson, Walt Whitman, and the prose of Zora Neale Hurston. I never tire of listening to Nina Simone or Tift Merritt.
I am Vietnamese American, born in Saigon in the late sixties. To know other as self becomes complex when the sense of self is perpetually in flux and other is self. I grew up in a working class home, in south King County, within a mixed race, bicultural family, with parents who intentionally removed anything but English in our home as a means to protect against linguistic bias. I am an immigrant who has become American, one curious about what that character or that identity may mean. I have been enculturated to America's languages: English, pop culture, images, music. I'm at home in middles, the betweens of living, exploring a sense of liminality.