From Roadkill
2019
Photography’s ability to complicate and validate the exuberance and tragedy of living has been holding an open space for untranslatable visions. I write to relive the memory of place and I photograph space to mark the existence of severed memory. I visited this abandoned hanger, the summer before it was demolished, in Indiana, as part of a larger series on forgotten and neglected places in the rural Midwest.
I stood in doorframes of what might have been someone’s office to watch sun shift through holes in the roof, light rippling onto the fallen architecture. That summer, I was thinking about the election, the humid and fiery air, the impending brood of large cicadas soon to hatch, and love, wondering if photographs were capable of documenting the unease that lingered around them.
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Emily
2021
I work with creatives and professionals who want portraits that reflect their authenticity.
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Hunter and Tessa, 2022
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for Leigha, 2022
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Falling
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Interested in how imagery and language elasticizes over time, she engages with the enduring tension between women’s studies, queer history, and fine art.
She supports a Free Palestine.
Creative Writing
Boise State University
Bachelors of Arts
Studio Arts
Women’s and Gender Studies
Creative Writing
Purdue University
Kelham, Hope. “untitled.” Meridian, 2024
Kelham, Hope. “we’ve eaten the ozone again.” The Portland Review, Aug. 2022.
Kelham, Hope. “the sound of burning paper mâché.” The Portland Review, Aug. 2022.
Communications Specialist
2024—present
Free Poetry
Graphic Designer
2020—present
Boise State University
Graduate Instructor, Writing and Rhetoric
2020—2023
Purdue University
Photography Lab Technician
2018—2020