Captioned by year and location, the black and white images are timeless. Each image is carefullycomposed of an untold story, happening before and continuing after the frame. They show visceraldetails of the city: a man sprawled on the floor of a train, the spray from a city fountain, a bird inflight, a shard of light on park railings, a crying child being carried down subway steps and coupleslost in each other. The people in the photographs appear constantly in motion, moving in and outof frame against the static backdrop of angular city details and architectural canyons. Collectivelythe photographs in JML NYC 02-23 impart not how the city looks, but how it feels.'This body of work encompasses a span of over two decades of living with a camera whiledeveloping a cinematographic vocabulary that operates in a multitude of interlocking halves:expression and comprehension, trauma and escape, private and public, the sensualist impulsemeeting the familial. These photographs are less about the city as a place, and more about what thecity is in my mind, and in my heart: the emotions, the questions, the desires I've experienced, anddiscovered.'