As one of the foremost experts in the field, I am working on an experimental manuscript that is part peer-reviewed history of spirit photography and part self-reflection of my own experience as spirit photographer. My cameras capture spirits, the gravity of which I understand and respect. I often feel as if the photographs are not my own, that my are feet guided by some mysterious force to this place or that, to capture something that is there. When that force tells me enough, I stop shooting. It is my work, yes, but it is also not. It the is the work of the people and places I am given permission to summon. It is a gift, and I am honored to have it. My cameras of choice are vintage film cameras from the 1960’s. I find that I am able channel spirits via this medium. I am especially drawn to peel-apart instant Polaroid film, since the images are one of a kind and not tampered. Skeptics would have all kinds of explanations for the appearance of orbs overlays of color, but I am uninterested in such skepticism. I decide to read these images as supernatural because art need not ascribe to the laws of the natural world.
I seek to summon the potential of invisible world of the world that surrounds us. Informed by my upbringing in Orthodox Judaism, my work is inspired unorthodox interpretation of Kabbalistic mysticism is the vocabulary of my work, as seen through the “Bess Houdini Series” (2014), the 16mm films of 2016, and my latest exhibition “That Happened Two Years Ago. This is Charleston” (2018).