Photographer based in The Roaring Fork Valley, CO
Jack Fox, portrait of the photographer by Alexandra Parker
Tell us about yourself, what's your background?
I grew up in Virginia just outside of Washington, DC. When I was growing up, pretty much all I cared about was skateboarding. I would make videos with my friends, which were essentially my first artistic endeavors. I went to a trade high school every other day for video production. Overtime, I realized that I much preferred the process of photography to video.
I began taking my artistic practice seriously during my undergrad at Virginia Commonwealth University, where I received a BFA in Photography & Film. There were some really incredible professors that pointed me in the direction of many of the artists I still look at today. In particular Justin James Reed, who taught a class called Books as Performance which really opened me up to the world of bookmaking, and showed me the outer limits of what a book can be. My interest in that medium hasn't faltered in the slightest since.
Snippy (UFO Abductee), Photography, 16x20"
I got some of my first editorial assignments during my undergrad as well as assisting numerous photographers on their assignments. I was Matt Eich's studio and field assistant for just under 5 years throughout my undergrad and a while after. Matt brought me on numerous newspaper & magazine jobs as well as days spent making personal work out in the field. He put in so much effort to show me the ins and outs of how one can go about a career in photography. All of these experiences showed me that this wasn't a farfetched dream.
Labyrinth, Photography, 20x16"
“I am currently working on a long form lyrical documentary project set mainly in The San Luis Valley of Colorado and Northern New Mexico. . . a magnet for UFO sightings, alternative spiritual movements, orthodox religion, cults, and conspiracy . . . the work examines the human impulse to search for meaning, revelation, and belonging.”
Left: Rosa Playing Chess, 2025, RA4 Color Darkroom Print, 16x20" Right: Akke, 2025, RA4 Color Darkroom Print, 16x20"
What are you currently working on and where did the inspiration for it come from?
I am currently working on a long form lyrical documentary project set mainly in The San Luis Valley of Colorado and Northern New Mexico. This region is a magnet for UFO sightings, alternative spiritual movements, orthodox religion, cults, and conspiracy. The largest alpine valley in the world, stretching roughly 122 miles between the San Juan Mountains to the west and the Sangre de Cristo or “Blood of Christ” Mountains to the east. It was named by Spanish conquistadores in the eighteenth century and carries both a monumental physical presence and a dense psychological weight.
This ongoing body of work explores the nature of belief and the ways faith, in any form, takes hold of a person. Through images made in the Valley’s landscape and communities, the work examines the human impulse to search for meaning, revelation, and belonging.
Left: The Falls, Photography, 40x50" Right: Tree Along The James, 2023, Archival Pigment Print, 16x20"
I came to this project after moving to Colorado for work, which marked a significant shift in the way I make. Before moving, my imagery was often populated with subjects I had a long standing connection with. Coming here, I didn't know anyone in the area. My practice became more about searching and driving. Through that, I stumbled upon The Valley, and became fascinated by its history and how the extreme beliefs I was faced with fit into the context of our current moment. I have always been interested in making work about belief, and I love giving myself place-based constraints.
Left: Father Emmanuel (Ash Wednesday), Photography, 16x20" Right: Lord of Kings, Photography, 40x50"
Innovation does not only happen in the field of technology, where do you find inspiration?
In school, I looked at books in the libary as much as possible. Now, the small collection of photobooks I own serve as a constant source of inspiration. 'Some Say Ice' by Alessandra Sanguinetti and 'The Four Pillars' by Eli Durst are two that I've been looking at frequently while I make this work. Old movies. Reading as much as I have the capacity for. Since I currently live in a fairly isolated environment, I don't have a large museum I can use for inspiration. When I've lived in cities, the museum space and gallery openings were places I would spend as much time as I could in. For me, it's imperative to remain up to date with what my contemporaries are making and to understand where my work is situated in the world.
Left: Making images out in the world Right: Final C-print after water bath
Where do ideas start for you?
My practice begins out in the world. I'll do a bit of research before I go out and make images, but I want to keep myself open to serendipity. Understanding the why usually comes later on. I spend much of my time processing and scanning my film, prepping files, and printing. I'm printing all of my current work on Japanese papers, and it can be a challenge to get the perfect print. It is well worth it when i achieve the end result though.
A large part of my practice is also spent handmaking books and other objects. Bookmaking is inherently related to photography, so even when I'm just binding a journal it atleast feels tangentially related; however, I'm also making objects that have very little to do with my main work. I enjoy having side projects that take me away from thinking about photography, which often feels necessary. I've been messing around with ceramics lately. I recently made a porcelain ceramic chess set. Funny enough, the chess set is currently showing in a photography gallery (Candela Gallery in Richmond, VA) because it has photographic elements to it.
Analyzing final washi prints on the wall
How do you make your work, does it start with a sketch?
As I previously stated, my work truly starts by just going out and making. For some projects I work in color, others in black and white. Currently its all black and white but my last project was all color and I was making RA4 prints in the darkroom.
I think I arrived at my style from consuming as many photobooks, essays, films, etc. as possbile and overtime getting a better sense of what I enjoy. When first starting out I found some heros that I tried to emulate whether I was conscious of that at the time or not. The more I made work the more confidence I had in my own, distinct artistic voice.
Left: The Leap, 2024, Archival Pigment Print, 16x20" Right: Tarantula (Migration), Photography, 40x50"
Many artists live by their routines and rituals, what does yours look like?
I'm currently working as the Studio Coordinator of Photography & New Media at Anderson Ranch Arts Center. My day job takes up the vast majority of my time. Right now is our busiest time of year, summer workshop season, so I'm working 50+ hours and 6 days a week. It is a real challenge to maintain an active studio practice but I do so by working late nights after work or getting up early before work. I also try to be as productive as possible on my Saturdays off. I have to be very conscious of how I use my free time because it is precious right now. I'm always listening to music in the studio. Right now its mostly The Chameleons & ML Buch.
Left: C-print test strips. Right: Test strips of washi paper before
Who are your biggest influences?
My mentor, Matt Eich.
Studio view, sequencing wall
Are there books or films that are an important source of inspiration?
Both are vital for me. Two books that had a big impact on me in the past couple years are 'Faith, Hope, and Carnage' by Nick Cave and 'Walking Through Clear Water in a Pool Painted Black' by Cookie Mueller. My visual language is informed by films for sure. I usually watch one or two films a week. I rewatched Vagabond by Agnès Varda recently, that is one of my favorites. The Wages of Fear is probably my all time favorite, and I've definetly used it as a reference in a couple images of mine.
Church Windows, 2025, Mounted Kozo Paper in Wood Frame, 15 by 18 inches
What’s the best piece of advice you’ve been given?
Don't rush putting work out into the world just to remind people you exist. Leaving something I've made alone for a while always helps me make clearer judgments.
Moon Over. Marble, 2025, Mounted Kozo Paper in Wood Frame, 15 by 18 inches
What is the best advice you would give to other artists?
Seldom do opportunities appear out of nowhere .. create them for yourself!
Jack Fox
Stay up to date with Jack Fox
Website jackrfox.com
Instagram @yack_fox