“There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is truth”. ~ Richard Avedon
An urging Brittany possesses reinvents itself each time she photographs portraits, fine art, or events. Her mixture of fear and curiosity fuels an investigation and evokes feelings of uneasiness until fear of the unknown is confronted, and the subject is no longer trying but being. Much of her imagery is sparked from intensely visual dreams, current events, social gender constructs and past experiences. With all this intention, however, like art in general, its really the viewers perception not just what Brittany may intend going into a project that matters. Even when she snaps-up a shot off the street; taking a moment and solidifying a story, she trusts what you interpret from a work is led by personal experience and not revealed in totality, for there are many truths and absolutes.
Working with various cameras, including a phone, grabbing moments in passing is not only a process but a need at times: a dire distraction from anxiety. The cameras Brittany utilizes, regardless of technical prestige, are pushed to their limit. She is intrigued by the notion to fight her equipment furthering the experience of shooting by distracting her from nerves. Trading on the light right then and there she refocuses her nervous energy into and onto the subject at hand. Redirecting fight or flight responses through the medium of photography generuinely shifts panic to safety of heart yet catches and cradles all sensitivities held on a photograph. Brittany is infuenced by many masters in photography such as Sally Mann and William Egerton, street artists like Miss Van, painter Saul Leiter, dance and movies.