Work in Progress

This is a sample from the series I am currently working on. 

To Live

Blood gives life, lack of can threaten life, and it is essential to being human. I use my blood as a medium to make marks on photographs that are elegant and quiet to explore what mortality is and what it means to be a human being.  By utilizing my family, who are linked to my past, present and future, I create a connection with who I am and what I feel.  My blood on our portraits extends this connection.  

Artist: Eden Buxton




Typhoon – Young Fathers (21 plays)

It is time!! A new Typhoon album full of quirks and all sorts of instrument experimentation. Last time I saw this band, they had a whopping ten members. I guess it’s twelve now. I couldn’t recommend listening to this album enough called White Lighter. It’s pretty much the most fun and pretty thing ever. That was a very unprofessional review that gave no detail, but that’s all I’ll tell you! 

Listen to it. 

Vincent Draper and The Dirty Thirty – Carolina (19 plays)

Salt Lake City musician Vincent Draper and the Dirty Thirty released their album SAM on July 27th of this year. I do agree that this should have made an appearance on here sooner, but it’s here now.

Draper’s voice echoes the pain and joys you’ve felt your entire life. He captures a combination of emotions that flow through your body during every song. Each track pushes and encourages you not to breathe with the use of pauses and beautiful lyrics. This is a genuine folk album. Although there is this sadness about the album, you are always fed a glimpse of hope. Whether it be tears of joy, or remembrance, or fear, this album will suck those tears to fall from your pretty, little head. 

The track that is sampled here is “Carolina”—the final one on the 5 song album.

"No, I’m here ‘cause of her, and she’s here ‘cause of fate. Well, God, I don’t dare call it luck." 

Lady Lamb The Beekeeper – Crane Your Neck (20 plays)

This album is perfect. It’s all over the place: harp, brass, strings; whatever you want to hear. Although, it really depends on the track because each song is so different with different instruments.  The biggest surprise about this album Ripely Pine is it is a solo project by 20 year old Aly Spaltro.  She has a mature angst in her voice and lyrics that are completely pure and natural. She sings beautifully, then yells and screams.  It seems entirely mood driven.  This track “Crane Your Neck” is a good example of her diversity.  The beginning starts out so sweet and soft, but once two minutes goes by, she’s yelling her emotions that echo the dark, sad lyrics. 

Patrick Watson – Lighthouse (10 plays)

The beauty of pain and suffering: There should be none.  But it twirls around your pretty, little head when you think of it and him and them.  The world at fast pace while you are stuck in one simple spot, rigid and muscle cramping.  Try to exist less. 

Rhye – Open (9 plays)

"I’m a fool for that shake in your thighs
I’m a fool for that sound in your sighs
I’m a fool for your belly
I’m a fool for you, love”

Not the most current, but Rhye’s debut album Woman was released in early March of this year, and it took a while for me to catch up to listening to it. I completely regret not putting this album on repeat the moment it came out. The lead vocalist’s voice is utterly stunning. Ambient, but dancey at the same time, this jam is sure to get into your heart and your step. “Open” is the first track of the album and is a perfect intro. Listening to Woman is almost like floating on a cloud—it’s hard to come down. 

TORRES "Jealousy and I" Live in Studio

The self-titled album by Torres came out last week, and it is a reason to listen. Poetic and dark lyrics followed by a hauntingly beautiful voice creates a dangerous flutter in your gut. This track “Jealousy and I” is a splendor. It hurts you while enticing you, simultaneously. Just beg it to stop.

Check out the rest of the album at your local music store. 

Taryn Simon

"The Innocents documents the stories of individuals who served time in prison for violent crimes they did not commit. At issue is the question of photography’s function as a credible eyewitness and arbiter of justice. 

The primary cause of wrongful conviction is mistaken identification. A victim or eyewitness identifies a suspected perpetrator through law enforcement’s use of photographs and lineups. This procedure relies on the assumption of precise visual memory. But, through exposure to composite sketches, mugshots, Polaroids, and lineups, eyewitness memory can change. In the history of these cases, photography offered the criminal justice system a tool that transformed innocent citizens into criminals. Photographs assisted officers in obtaining eyewitness identifications and aided prosecutors in securing convictions. 

Simon photographed these men at sites that had particular significance to their illegitimate conviction: the scene of misidentification, the scene of arrest, the scene of the crime or the scene of the alibi. All of these locations hold contradictory meanings for the subjects. The scene of arrest marks the starting point of a reality based in fiction. The scene of the crime is at once arbitrary and crucial: this place, to which they have never been, changed their lives forever. In these photographs Simon confronts photography’s ability to blur truth and fiction-an ambiguity that can have severe, even lethal consequences.”

There’s something very powerful about this series. To place someone in such a significant spot and capture their post-emotions is very compelling.

To see more works go to


Keaton Henson - 10am, Gare du Nord (Amoeba Green Room Session)

Speechless. Just listen.