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I research forgeries, stolen artwork, plagiarism, memory, censorship, misattribution, the writing and re-writing of histories, evaluating the gap between accuracy and fiction. A photograph is often perceived to be an objective arbiter of truth, but realistically it is just as open to manipulation as the process of recording history. Photography can alter our entire perception of reality via editing, interpretation, and desensitization, as well as by constructing a hyper-reality and depicting pseudo-events. My goal is to create broad awareness of our shortcomings in recording and portraying history so people understand it not as static stories frozen and dead in the past, but as a medium of active engagement -- a living, breathing investigation into what came before us, constantly striving to reach the truth.

Creatively, I work with a variety of printed and digital media ranging from video, installation, sculpture and augmented reality to the photographic wet plate collodion process of the 1850s. Frequently, I disrupt the surfaces of printed media by physical alterations through sewing, dissecting, writing, and pinning.

M.F.A. Studio Art- Photography, Pennsylvania State University, University Park
B.F.A. Studio Art- Photography and Drawing, the State University of New York at Oswego

, Art Review of Solo Exhibition. The Washington Post. Article by Mark Jenkins. August 24, 2017.

. Croft, Clare. Images from the performance of we [still] queer here 4.5, Confetti Sunrise. Oxford University Press. April 28, 2017: 2, 42, 58, 174, 178, 192, 206, 219

. HYE Times. Article by Ara Topouzian. March 13, 2017. Online.

Croft, Clare. Theatre Topics, John Hopkins University Press. March 2016: 59-60

. Detroit Metro Times. December 1, 2015. Online.

Breakfast with the Artist. Interview with Rosie Sharp. October 11, 2015. Online

. Kim, Leejin. Czong Institute for Contemporary Art Museum, South Korea. 2015: 32-35, 100

. Third Edition. James, Christopher. Image of Working Harder to Reclaim That Context and Losing the Collection. Delmar Cengage, New York, New York. 2015 March 5: 465, 790

. Hyperallergic. Article by Sarah Rose Sharp. February 9, 2015. Online.

. Accueil: Numéro 10, November 2014. Online.

. Photomedia Center- Contemporary Imagemakers 2013. Print. p. 12-17

. Universidad Nacional de Rosario VlogTV. Video.

Selected Exhibitions

The Barcelona Foto Biennale. 5th edition of the Biennial of Fine Art and Documentary Photography. Barcelona, Spain. October 4-21, 2018

. Royal Scottish Academy, Edinburgh, Scotland. June 23 - July 25, 2018

. Atom Art Gallery, Ferndale, Michigan. June 16 - July 31, 2018

About Me. Millepiani Exhibition Space, Rome, Italy. April 4 - 12, 2018

. Valid Foto BCN Gallery, Barcelona, Spain. October 3 - 14, 2017

. Solo Exhibition. Torpedo Factory Art Center, Target Gallery. Alexandria, Virginia. July 13 - September 3, 2017

. PH21 Gallery, Budapest, Hungary. March 9 - April 4, 2017

. Czong Institute for Contemporary Art Museum, South Korea. March 21 – June 21, 2015

International Symposium on Electronic Art. Zayed University, Dubai, United Arab Emirates. October 30 – November 8, 2014

Mapping: Borders, Bodies, Memories. Filter Photo Festival, David Weinberg Photography, Chicago, Illinois. Juried by Paula Tognarelli, Executive Director of the Griffin Museum of Art. September 19 - October 6, 2013

. Griffin Museum of Photography, Winchester, Massachusetts Juried by Kathy Ryan, Photo Editor of The New York Times Magazine. July 18 – September 1, 2013

. Universidad Nacional de Rosario. University Cultural Centre (E.C.U), San Martín 750. Rosario, Argentina. August 28 - 31, 2013

Northwest Missouri State University, Maryville, Missouri. Juried by Elaine A. King, Ph.D. Art Historian at Carnegie Mellon University, Critic and Curator. January 17 - February 17, 2012

 New York State Museum, Albany, New York. Juried by State University of New York Chancellor. May 13 - August 6, 2006