Photo Essays Photography and narrative walking together.
Travel Writing You go without knowing what you’re looking for.
Poetry Where meaning outlasts the sentence.
01 Five Chapters
My Biography

Bay Ridge to Flâneur. Five chapters of flux.

Read the story
Nook Nook woven coir doormat
02 One Doormat
Nook Nook Mats
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03 Dánlann
The Poetry Machine
Thousands of years.  One wall.
Flâneur 718

New York City — 2021–2022

A person in a black hooded winter coat stands alone against a large red-painted corner wall in Brooklyn, head lowered, beside a patched square of exposed brick. To the left a shuttered storefront sits under a sign reading 325 Rockaway Ave, and a pedestrian signal box hangs at the right edge of the frame. NEW YORK CITY
2021–2022

A city read in steel, brick, and shadow.

Close view of a yellow New York City taxi with a rooftop advertisement reading 'the GAME of REAL ESTATE' and a FIREFLY sign. Through the rear window, a passenger in a white and green polo shirt reaches up with one arm, hand gripping the door frame above the glass, while a bold striped reflection of a building facade cuts across the window and obscures the face.
On a Brooklyn corner, one man in a black coat and wide-brimmed hat walks across the sidewalk while an older bearded man in similar dress stands still beside a folding chair. Behind them rises a red brick synagogue wall with arched windows and boarded wooden panels; green Roebling St and Lee Av signs and a crosswalk signal hang from a pole at right.
A man in a light blue checked shirt and surgical mask holds a phone to his ear with a navy Yankees cap in his hand, standing on a sidewalk in front of a white painted brick wall where low sun casts long shadows of steel bollards. To his left, an empty Great Wall Supermarket shopping cart sits outside the store's glass entrance.
A narrow vertical gap between blurred plywood construction panels reveals a soot-darkened brick facade across an airshaft, with a white-framed sash window holding a window air conditioner above a lower window screened by a pale curtain.
Seen through a gap beside a subway entrance, a young woman in a cream fleece jacket leans forward past a weathered green railing, looking down the sidewalk. A lit MTA screen on the left shows an illustrated ad and arrival times for two F trains to Coney Island in 6 and 16 minutes, with a crosswalk, traffic light and blurred pedestrians beyond.
View through an open chain-link gate into a concrete skatepark beneath the massive graffiti-covered stone anchorage of the Brooklyn Bridge, where a shirtless skater rolls toward the camera and others ride ramps in the background. An orange boom lift and glass office towers rise behind the park at left.
A person in a dark sweater stands in shadow with their back to the camera in a white-walled gallery, holding a paper shopping bag. Two large abstract paintings in blue, yellow, red and orange hang on either side, while a wedge of daylight falls across the wall behind them.
A woman in a black shearling jacket and light gray leggings stands in a patch of sunlight outside a produce shop, wearing a surgical mask and holding a white phone while tucking her hair behind her ear. Behind her are crates of oranges, loose ginger root, Blue Jay citrus boxes, and a red Chinese-character banner hanging from the awning.
A man in an olive jacket and cargo pants carries a red plastic shopping bag as he crosses a street corner in Manhattan's Chinatown, glancing sideways. Behind him, two masked men stand and sit against a cream brick wall covered in large black graffiti tags, beneath a sign warning that unauthorized littering will be fined up to $1,000 in English and Chinese.
A black and white night photograph of a worker in a knit cap pushing a wide broom across a crosswalk, silhouetted against thick steam lit by headlights. Behind them, two pedestrians cross a divided roadway past trees strung with lights.
Tight telephoto view of a tan and brown brick apartment tower filling the frame, with vertical columns of rounded balcony bays and dark tinted windows repeating floor after floor. A small potted plant sits on one upper balcony and blinds are drawn at different heights across the glass.
Two men stand close to the camera in front of a large wall mural of a red-haired clown face with a bulging eyeball, one in a gray plaid shirt sipping from a plastic cup, the other in an olive T-shirt and beaded necklace holding a can of pilsner and a clear water bottle. Behind them a crowd fills a paved lot, with the orange track of a roller coaster rising against a flat white sky.
A lit white awning sign reading HOP KEE RE in red brushstroke lettering, with the street number 21 in a red box, projecting from a Chinatown storefront at night. Behind it a brick tenement facade with window air conditioners and a fire escape recedes into darkness.
A man in a navy baseball cap and black and white striped polo shirt stands beside an aluminum hand truck, looking down at a phone in his hands. Behind him is a dark green painted brick wall with a brass accordion security gate, a brass mailbox, and a shop window with COMING SOON lettering.
View from inside a Chelsea hot dog counter through a large window: a man in a black knit cap and a black number 3 jersey leans on the red exterior ledge holding a clear plastic cup, mask pulled below his chin, while traffic lights, trash bags, pedestrians and the Hotel Chelsea fill the avenue behind him.
A young girl with dark curly hair in a pink tank top and pink arm warmer leans on the wooden rail of a parade float built like a pirate ship, with rope rigging and a costumed pirate behind her. In the foreground a shirtless man in sunglasses watches from below, and a bright pink fabric squid puppet with googly eyes rises at the right edge.
Night view through a scaffolded glass storefront where a seated figure in silhouette sits beside a stroller, with a plume of white steam rising in the street and layered reflections of traffic, traffic cones, and a leasing sign doubling across the panes.
Black and white photo inside a New York subway car: a young girl in a polka-dot dress leans forward with both arms extended to wipe the face of a small boy seated in a stroller, while a woman in a face mask and hooded jacket watches from the seat behind them.
View from beneath a dark steel bridge overpass looking up a wide Chinatown street in Manhattan, with Chinese storefront signs, parked cars and pedestrians on the left sidewalk, and the twin-towered Municipal Building rising in hazy light at the end of the avenue.
Looking up through the diamond gap of a chain-link fence at the corner of a dark granite-clad office tower with narrow vertical windows set against a deep blue sky. A pale limestone building rises behind it on the right, and a stained concrete wall cuts diagonally across the lower right of the frame.
At twilight in a New York City street crowd, a young woman with long brown hair looks back over her shoulder at the camera, her face lit warm orange while the crowd behind her falls into blue shadow. She wears a loose patterned jacket in cream, blue and rust; protesters around her hold cardboard signs and raise phones overhead.
Two men in business casual clothes walk along a sunlit sidewalk past a dark glass office facade, their bodies half-swallowed by deep shadow. At left, a pole carries two One Way arrows, an all-way Stop sign, and a No Standing Anytime plate, and the Stop sign appears again as a reflection in the building's windows.
A man with shoulder-length curly brown hair, a reddish beard and dark-rimmed glasses stands in a gallery wearing a black zip-up jacket with the collar up, looking off to his right. Behind him on a pale wall hangs a framed Peter Beard 'Nomad' poster showing a standing figure surrounded by a painted collage border, with a brightly colored abstract canvas visible on the far left.
A woman sits barefoot on a black slatted metal fire escape landing outside a brick building, knees drawn up, wearing a leopard print skirt with a tan overlay. Her toenails are painted red, and potted plants sit on the grating beside her against a backdrop of green foliage.
A view across Manhattan rooftops crowded with wooden water towers, with a pale high-rise tower rising at left and One World Trade Center visible in the hazy distance beneath heavy grey clouds.
A red Roosevelt Island tram cabin hangs from its cables in a blue sky above the steel trusses and stone tower of the Queensboro Bridge, framed on both sides by dark glass office towers on East 59th Street.
A woman in a black face mask and bright blue blouse pushes open the glass door of a corner bodega, holding a bottle and a black leather jacket against her chest while a white canvas tote hangs from her arm. Behind her are shelves of chip bags, and the door glass carries a red EBT sign, a Face Mask Required notice, and a plant-based sandwich poster.
A black and white ONE WAY street sign mounted on a yellow pole, tilted diagonally in front of a tan brick apartment building with carved stone brackets under the windows. Yellow paint has dripped down the sign where it meets the pole, and a yellow lamp is visible through an open second-floor window.
Detail of the Chrysler Building's upper setbacks in Manhattan, with two stainless steel eagle gargoyles projecting from the white brick corners against a clear blue sky. A glass tower with a thin spire rises at the far left edge of the frame.
Black and white street photograph of a woman in a long light wool coat, black cap and sunglasses standing against the mirrored glass facade of a diner on a sunlit sidewalk. To the left, a bus shelter panel reads 21 Street & Broadway, with signs above for Broadway Shopping Center, City Fresh Market and El Aire Diner.
A bearded man with wavy auburn hair and tortoiseshell glasses sits on wide painted brownstone steps in bright midday sun, wearing a teal heathered henley T-shirt with four buttons open at the collar. He faces the camera with a slight smile, arms resting forward, the stoop's brown risers filling the frame behind him.
Close-up of a modern apartment building facade made of interlocking curved metal bands that form pointed chevron shapes, with recessed glass balconies and windows reflecting pale evening sky between them.
A person in a black hooded winter coat stands alone against a large red-painted corner wall in Brooklyn, head lowered, beside a patched square of exposed brick. To the left a shuttered storefront sits under a sign reading 325 Rockaway Ave, and a pedestrian signal box hangs at the right edge of the frame.
Black and white photograph of two adjoining Manhattan high-rise facades: on the left, an ornate early twentieth century building with basketweave brickwork, deep-set windows and carved robed figures beneath a cornice; on the right, a plain limestone tower rising in vertical piers with a dense grid of small dark windows.
A man in a grey hooded sweatshirt leans against a polished steel column outside a granite office building, looking down at a phone in both hands with white earbud cords trailing. A folded blue umbrella hangs over his shoulder and a white plastic takeout bag dangles from his arm; his reflection, warped and doubled, stretches across the column beside him.
A yellow New York traffic signal glowing red hangs from a gray mast arm alongside a white 'ALL TRAFFIC' sign with a right arrow and a green '2 Av' street sign. Behind them, two leaning glass-and-copper towers joined by a high skybridge rise above a line of trees into a clear blue sky.
A glass and steel office building entrance beside a pink-and-grey granite wall, where a hard diagonal shadow cuts across the stone and a tall vertical light panel glows in its frame. A blue sign on the glass reads 'Face coverings required in all public areas,' and the photographer's reflection is visible in shorts and sneakers.
Two masked passengers sit side by side on a New York subway car. On the left, a woman in a light blue tank top and round glasses rests with her eyes closed behind a surgical mask; on the right, a young man in a gray sweatshirt with a black sling bag holds a fistful of his own long dark hair straight up above his head, eyes fixed on the camera.
A young man sits behind the wheel of a black SUV with an unlit cigarette in his mouth, one hand on the door near a chrome side mirror wrapped in Supreme tape. Behind the car, a storefront row shows a Foodmarkets sign, a DHL awning, a purple 5821 Laundromat sign, and a man in a yellow safety vest standing with a bike.
Four costumed performers pose in and around a white delivery truck painted with Drake's Devil Dogs snack cake advertising. Three women in wigs, shells and bikini tops lean out of open side windows while a shirtless man with blue body paint and red trousers carries a woman with purple hair draped across his shoulders.
Black and white photograph of a bearded man with curly hair, glasses and a backpack standing at a fast food counter, looking off to his right. Behind him a large illuminated menu board lists hot dogs, corn dogs, Philly cheese steak, fish and chips and breakfast specials with prices.
Shot through a streaked pane of glass, a wooden shelter with a corrugated metal roof stands against a red-painted brick wall, its dark sign hand-lettered in yellow with 'DELIVERY' and 'OPEN DAILY' and a red '-11'. Tall arborvitae shrubs fill the middle of the frame, ginkgo branches hang over the roof, and at right a person in a plaid flannel shirt, beanie and jeans leans against the wall looking at a phone.
A person's head and shoulders appear in near-total black silhouette against an arch-topped window, through which a brick and cream apartment building is visible above a salmon-pink fire escape stair with mesh railings. A small sign on the railing reads 10 B.
A cyclist in a blue hooded rain jacket rides through a thick cloud of white street steam on a Manhattan street, with two yellow school buses stopped at the curb behind and a pedestrian in a knit cap crossing at left.
A tight telephoto view of the Chrysler Building's brick and steel setbacks, with a chrome eagle gargoyle projecting from a corner near the center, framed on the left by a patterned stone facade and on the right by a mirrored glass tower reflecting rippled shapes.
A cyclist wearing a paint-spattered white hood over the entire head and a matching torn shirt rides along a Brooklyn sidewalk past shuttered storefronts, carrying a blue bottle. A Walk-In Allergy Relief sandwich board stands to the left and the green Ralph Av street sign hangs under the elevated tracks at right.
A high-contrast black and white photograph shot through the scrollwork of a riveted steel bridge railing, where two people stand close together in an embrace on the far side. One wears a dark knit cap, the other has light-colored hair, and both are framed tightly between the horizontal rail and the cast iron pattern, with gravel and steel plate filling the rest of the frame.
A young woman with shoulder-length pink hair in a cream ribbed tank top turns her head over her shoulder to look toward the camera, a floral mask pulled down around her neck and a chain-strap bag on her shoulder. Behind her a chain-link fence separates the walkway from blue, green and red amusement ride girders, a blue patio umbrella and empty picnic tables.
A smiling woman in a long pale blue wig, mirrored holographic visor and round sunglasses stands in a packed crowd in front of an Auntie Anne's pretzel counter, wearing a white crop top reading MERMAID and a gold sequined skirt. Behind her another person wears a towering blonde and pink wig, and a second matching visor is visible to the left.
A high-rise apartment tower with rows of cantilevered white concrete balconies stacked in a staggered grid, seen past a gray streetlight pole and crossing overhead power lines, with the curved yellow-brown brick corner of an older building at left.
Close-up daylight portrait of a young man with wavy brown hair, a reddish beard and rectangular tortoiseshell glasses, holding a white paper straw between his lips with his right hand. Sunlit green leaves and thin tree trunks fill the background, and he wears a light blue heathered t-shirt.
A shaded alley between two stucco and brick row houses opens onto a sunlit rear yard with two white garage doors, one roll-down and one paneled. A brick pier between them is capped with a small white lion statue beside a balustrade, with utility wires crossing the sky above.
Seen through a large storefront window, a woman with red hair pinned up sits in profile at a white chair, working on a laptop beside a takeout coffee cup, while the glass reflects a second woman in a pale blouse standing outside and the carved white facade of a building across the street.
A silhouetted person in a hooded jacket walks away from the camera down a Brooklyn sidewalk after midnight, framed by a Decatur Street sign and a red traffic signal on the right. Storefront lights, parked bicycles and a graffiti-covered wall blur into the distance under an elevated train structure.
A woman seen from behind in a white t-shirt and black baseball cap leans against the glass of a vacant ground-floor storefront, looking into a gutted interior where late afternoon sun casts long diagonal window-frame shadows across the bare concrete floor. The glass doubles as a mirror, reflecting the brick building and fire escape across the street.
A high-contrast black and white photograph in which a person's face emerges faintly from near-total darkness, with only the brow, nose and mouth catching light. To the right, two horizontal bars of bright white light glow against the black, and long hair falls across the lower edge of the frame.
A man in a flat cap and dark jacket sits alone on a bench on a dimly lit elevated subway platform, holding a paper cup in his lap and looking down. A bright fluorescent strip light above throws a zigzag pattern across the ceiling beam, and the station name 85 St-Forest Pkwy is barely legible on the wall behind him.
Two tall lattice electrical transmission towers stand in silhouette against a brown-orange night sky, with lit apartment blocks glowing behind them. Below runs a long graffiti-covered concrete wall, a dark embankment, and a railing where a single figure stands at the lower right.
Seen through a narrow gap between two dark high-rise facades, a pale concrete tower with deep recessed square windows rises into low fog that erases its upper corner. A few interior lights glow yellow behind scattered windows.
A woman in a black fur-hooded parka walks right to left across a Manhattan sidewalk carrying a foil-wrapped sandwich, glancing directly at the camera; on the left half of the frame her near-identical mirrored reflection appears in a dark glass panel, with a pizza storefront, crosswalk signal and Fashion Ave / 7 Av street signs behind her.
Framed by potted plants on a cafe windowsill, a woman in a black top and leopard-print skirt stands on Eighth Avenue holding a phone, facing a crowd spilling out of the Joyce Theater under its Art Deco marquee. Yellow caution tape wraps a pair of white A-frame barricades and an orange traffic cone in the street between them.
View through a large tinted window with a dark upper frame: at left a gray brick and glass apartment tower fills the frame, and in a gap of pale evening sky at center the upper floors and spire of the Empire State Building catch warm light, with low rooftops and a rooftop antenna array to the right.
On a blue subway bench, a man's outstretched arm holds a phone in a rubber case; the screen shows his masked face partly hidden behind an enormous out-of-focus thumb covering the lens. To the left, another passenger's bare legs and clasped hands lean in; to the right, a third rider's light shirt and dark shorts fill the frame.
At night on a New York sidewalk, a woman with long dark hair in a white wrap blouse and jeans sits against a plate glass storefront, holding a cigarette up near her shoulder, a DSLR camera hanging at her hip. Green and yellow light from the window washes over her and throws her mirrored reflection across the glass to the right.
A man in a black t-shirt, shorts and a bicycle helmet stands on a ledge partway up a traffic signal pole at a Broadway intersection, looking off to the side above a dense crowd. Green Broadway street signs, a ONE WAY arrow and a Sabrett hot dog cart with yellow and blue umbrellas fill the frame around him.
Black and white photograph of two adjacent glass entry doors, each bearing a small dark plaque reading DANIEL in spaced capital letters. The right door has horizontal push bars and a metal plate stamped PUSH, with the arched window and interior of the building reflected across both panes.
Looking through a row of vertical white railing bars at a shadowed construction passage, where a person in a black t-shirt and shorts sits on a low concrete step, head down, hands in their lap. A galvanized scaffold pipe wrapped in black duct tape runs down the left of the frame, with scaffolding uprights and a bare ceiling light behind.
A woman in a black quilted Calvin Klein puffer jacket and a light blue surgical mask sits on a subway bench, looking off to her left, with a laminated NYC transit map visible in the window behind her. A canvas tote bag rests across her lap and her hand rests on her knee, with an orange and red seat visible beside her.
A person in a hooded black puffer coat and light pants walks past a plywood-clad scaffolding column on a sunlit Manhattan sidewalk, their dark silhouette thrown across the boards. Behind them a silver sedan and a minivan sit parked in front of an ornate stone building.
A low, flat horizon of dark building silhouettes under a deep orange and mauve sky, with a small red sun disc sinking just below the rooftops beside the spire of One World Trade Center. A few thin clouds catch pink light at upper left and along the right edge.
A woman in a red hooded sweatshirt and a black New York Yankees cap wears a blue surgical mask and white wired earphones, holding a steel grab rail near the end-door of a subway car. In the foreground, out of focus, a man in a black cap and a rider in braids with over-ear headphones sit below her, and a reflection of the red jacket repeats in the door glass at left.
A man in a bright red hooded winter coat stands on a Chinatown sidewalk mid-bite into a steamed bun, with a woman in a matching red hood eating beside him and holding a white plastic grocery bag. Behind them, metal barricades line the curb and pedestrians pass a shuttered storefront.