Amy Elkins writes:
“In a continuing exploration into the many nuances of gender identity and masculinity, ‘Wallflower II’ turns the camera to masculine identifying individuals from a spectrum of backgrounds. Sitters range from war veterans and diesel mechanics to authors, therapists, and bodybuilders. Several father children they, themselves, have birthed over the years. Much like ‘Wallflower’ (shot between 2006-2008), the portraits stem from an ongoing intrigue regarding masculine identity when stripped of personal context—sitting bare within a constructed, impermanent environment. Unlike ‘Wallflower,’ which aimed the lens at cisgender men almost entirely photographed in my personal space, ‘Wallflower II’ explores a much broader sense of masculine identity—shot in the personal space of strangers in urban and rural Georgia upon first meeting and found through online calls/searches surrounding ideas of masculinity and gender in the American South.”