“as of now” is a place where I share recent work, for a limited time. A remote exhibition, “just there,” will be opening here soon.

just there (2025 & 2026)

Recently, I wrote an imperfect poem in Japanese.

言語が足りなくて、画像の影は残っていて、薄く伸ばしているか、限界があったまま

でも、柔らかさは動ける

割れ目に流れる

口から出ない時も

綺麗じゃない時も

変な形 : 

language isn’t enough, the shadows of the image remain, are they stretched thin? bound by limitations

but, a softness moves

into the cracks, it flows

even when it cannot leave the mouth

even when un-beautiful

a strange shape

Japanese is my second language, and it seems to me, at this stage in my learning, that I go there to speak when my English confines. Though film has always been the first love, I’ve had a long relationship with digital photography and video, in-step with its flexibility. Overwhelmed with the infinity of this practice—the illusion of immortality that working with digital images can illicit, I came to a point when I inadvertently sought a medium that felt closer to the way my body works: slowly, and vulnerable to almost everything.

Over the course of the last few years, like most people, I am learning how to move, with a (re)orientation that turns towards a tender strength. just there, among other pieces of my work, didn’t know if they wanted to be seen. I am unsure, still. But, in looking at the four rolls of film I’ve taken over the last two years, I felt that something was moving, even when I wasn’t prepared to let it. “Personhood” is complex and asymmetrical and it fails, but it also has the ability to catch those failures and turn them into something else. It is only from the “I” that I can see, only from this body—and these hands—that I can try.

just there is a central viewing point, and a scattered arc. The collection blurs the self with place, perhaps allowing it to be so. Though each photo is its own world, the photography belongs to a larger, ambient whole, and even this whole can appear partial, incomplete, moving, and changed.

Each piece is priced respectively. And all film photography is sized at 33.13 x 21.96 cm.

This is \ from where, we loved (2018)

25.4 x. 33.83 cm

This piece exists on its own: pulled from a different frame of mind in 2018, and having gradually come into this shape. Its final form is a mixed mediums fine art print on archival paper. The original components are made of oil paint and pen on paper, which were then scanned together and played with digitally; texture arrived, and has been left as is.

to purchase an artwork

To purchase an artwork, follow the stripe link below each piece. [coming soon]. At this time, there will be only one piece of each work printed, meaning purchasing is on a first come first serve basis. Every order is a pre-order. For inquiries and requests, feel free to contact me here. Shipping prices will depend on your location. I will likely be using two fine art printers, one in Tokyo, and one in “the u.s.” This will lower shipping costs significantly for those purchasing from those geographies. Know that purchasing my art supports my life directly, and makes it possible to live and create. Thank you for being here.

— Jes

just there

trees from home

two pacifics

air and water

koi fly in trees

bird

saying goodbye to a mountain

naked

indoor trees

This is \ from where, we loved