I’m a New York-based visual artist with a deep interest in photographing and documenting my life, as well as the lives of my family and friends. I believe no moment is too mundane to capture, as I am always focused on finding meaning in everyday experiences.
My work is often project-based, with an emphasis on Polaroid photography, self-portraiture, and themes related to identity, mental health, and body image.
Julie: When it comes to photo series, my intention is to portray the truth and the present moment as accurately as possible. I aim to capture not only my own experiences but also those of the people I photograph. I always strive to provide an honest portrayal, without idealizing the situation or the subject.
B: Is there a specific place or person you hope to capture perfectly one day?
J: I would say no, because perfection is never my goal. However, I do sometimes get frustrated when a Polaroid I take doesn’t fully capture or reflect the details of the reality or the moment I’m trying to preserve.
B: Is there a personal motivation behind your work that you like to portray?
J: When I started taking photographs, it was a way of coping with my struggles around identity, mental health, and body image. These themes still manifest in my work. Documenting that time through Polaroid self-portraiture led to my zine, Just Me. Body image continues to be central to my recent work, as I aim to disrupt the way women have been portrayed in the media, and through my current documentation I hope to challenge that notion and create a space for contemplation..
Ultimately, my motivation has always been driven by fear—the fear of change and time passing, which is why I feel the need to document and capture the present moment.
B: What is something intangible that you would want to capture on camera (like a feeling or environment)?
J: I love photographing shadows and exploring how light can be interpreted in different ways, especially in my grandmother’s house. In my Polaroid self-portraiture work, I’m always trying to capture my emotions or the emotions of the moment.
B: Some of your photos explore more experimental forms of film printing. What draws you to this?
J: I’d say my interest in photography began when I was introduced to analog photography. Learning the rules of using a manual film camera gave me a sense of structure. Discovering and working in the darkroom opened up a whole new world for me. I really enjoy the physicality of being involved in each step of the process—shooting, developing, and printing. For me, it's a very intimate experience.
A big part of my practice is intuition-based, and the darkroom provides a space where I can explore, experiment, and see what works and what doesn’t.
B: There’s a lot of motion in your pieces. What draws you to photograph your subjects in movement?
J: I’m not sure I specifically set out to photograph people or things in motion, but I’m interested in capturing the present moment I’m in and inviting the viewer to engage with it. Movement can be a key element that grounds the viewer or provides insight into the moment I’m experiencing.
Over the last two years, I’ve become increasingly interested in the relationship between the body and movement—specifically, bodily movement and form.
B: What’s the best part of taking a photo of something, and why?
J: The feeling of control and satisfaction I get from capturing a moment—whether beautiful or not. It doesn’t matter if the photo is technically good or not because the moment itself is inherently important and valuable. The best part is knowing that I experienced something beautiful or meaningful, and now I have a physical record of it that will last forever. Each moment is fleeting, and so many small, mundane moments slip away from one day to the next.
For me, it’s comforting to know that I’ve captured that moment, and it will exist beyond time. And if the photo can also capture the emotions present at that time, then it feels even more significant.
See Julie’s zine, “Just Me” at Dashwood Books and Printed Matter
Interview by Katie Kern