When you look at me, you wouldn’t assume that I believe in fate. Maybe it’s the all-black-everything style that carried over from my days in a band, or just that a 39-year-old Kentuckian isn’t often concerned with their cosmic destiny. But when I consider the incredible way my life has played out in the last fifteen years, there was something always leading me to photography, the award-winning non-profit Anchal, and the love of my life, Colleen. I guess you could say this is a love story—a love story that proves how photography can profoundly transform lives.

It began when my first marriage ended. In 2010 I was content, comfortable, and ready to settle down. When that all changed, photography became a lifeline, not only for my career but for my state of being. It helped me explore creative self-expression, connected me with like-minded creatives, and allowed me to envision goals I would have never considered before.

Suddenly I felt free, like I could tap into an unlimited source of oxygen. And the clarity that came with truly changed my perspective on life. My journey became an open road, with bridges, highways, and no limits. And once I embraced the idea that I had no destination, it seemed like everything else fell into place.

While it may not be apparent now, I cut my teeth in the editorial scene in Louisville, Kentucky which is how I first was introduced to Anchal and its co-founder Colleen Clines in 2012. From the onset, our paths were aligned, as we were both celebrating a personal milestone. I was photographing my first paid editorial project and it was Colleen’s first big press feature for her work with Anchal. As a relatively new photographer, I felt somewhat intimidated and in awe of the subjects, most especially Colleen.

As a college student, Colleen envisioned a cross-cultural project that used fiber arts as a means to provide economic stability to women in an underserved community in India. After graduating, she and her sister Maggie actualized these dreams, establishing an educational facility and international partnerships that have employed 460 women, aided 1,822 lives, and crafted 119,749 products to date. 

As a women-owned and operated non-profit, Anchal’s compassion for a community they had no prior connection to was truly inspiring. Especially to someone like me, who at the time had never left the United States. When I heard about everything Colleen had already achieved and was attempting to do with Anchal, I was so impressed that someone my age could be both selfless and a self-starter on such a big scale. To me, she was a superstar.

Later, the magazine invited us all to a launch party where Colleen and I were able to discard the pretense of work and get to know each other. As she remembers it, she was flirting, somewhat coyly, but I was oblivious to her advance. I mean why would this beautiful, intelligent, and compassionate woman think that I could be her equal? Thankfully the city of Louisville and the art scene is a small enough sphere that we continued our friendship over the years. Looking back, I’m glad that I took some time to work on myself and my career before Colleen and I connected beyond a friendship.

In 2015, I had the opportunity to photograph a humanitarian project in Tanzania for Waterboys. Waterboys is a non-profit foundation, founded by former athlete and two-time Super Bowl Champion Chris Long, that builds water relief wells in rural villages all over the country of Tanzania and has provided clean water to over 550,000 people in need at home and abroad. The assignment was my first international trip and was both humbling and heartening. I found myself returning to Kentucky after only a few days, but what had felt like a lifetime in the depth and richness of cultural experience I had witnessed. Rooted in my passion for both art, storytelling, and social responsibility, this project not only gave me a new perspective on my work, it became the anchor for my personal philosophy that connection is the key to creativity.

Eager as I was to continue traveling, a few months later I ventured to New, Dehli, India with Nadus Films to photograph a project for the Good Samaritan School. Each of these trips was like a rewiring in my brain, challenging me to expand my understanding of life, privilege, and community. And the reasoning behind why I loved photography changed, too. I wasn’t as interested in creating perfect or beautiful images, because knowing the impact forced me to compose and consider art differently. 

In 2016, I reached out to Colleen and her sister Maggie, whose organization partnered with artisans in Ajmer, India. At that point, Anchal was an acclaimed non-profit in Kentucky and I was excited to find another locally-operated humanitarian project with an international impact. The three of us met at Quills Coffee and discussed our dreams and goals, both individual and collaborative. This casual meet-up would foreshadow the partnership between Colleen, Maggie, and myself, and the family that we would one day be.

Yet, as ready as I was to be part of this collaboration, I think I still had some growing to do. My business was continually becoming more successful, with each year fiscally and experientially topping the next. And in that time, I started grounding myself more. Finding a way to sustain a work-life balance in the chaos of being a freelancer and business owner.

Whether or not we were actively seeking each other out, the universe was pulling us together. In true Lousiville fashion, Colleen and I were in the same elevator at an event at Churchill Downs in the spring of 2019. Amid the party going on around us, I made a more serious commitment to wanting to help Anchal and, thankfully, Colleen was receptive. We met over several meetings, fueled by cocktails and created a project outline that set the first phase of fashion for October and a trip to India together the next year, 2020.

PHASE ONE - 2019

The first phase of our collaboration consisted of photographing the fashion of Anchal, which I felt would be a great launching point for the project. One that I could hit big, with a clear vision that I could deliver. I wanted them to take me seriously, and see their work at this level of photography that really equals the luxury brands they market alongside in the fashion world. 

We set the project at her family’s farm outside Louisville—a location that would become an extension of our home shortly after—since it fulfilled both our aesthetic needs along with connecting to the founders’ story. We hired two professional models, a hair and make-up team, a production designer, and multiple assistants. I committed to going into every aspect of this production with the same level of professionalism and organization that I use in all my photography. It set the tone for the project and showed Colleen and Maggie a glimpse of what this partnership could become.

Juxtaposition has always been a strong driver in my visual aesthetic. With this project, we built a studio backdrop on a grassy field to contrast high fashion and a rugged environment. I hired prop stylist Emily Pierce to craft a set made of plywood and lumber and painted it matte white. She also built two pillars and a crossbar to hang the product. Leaning into that fusion, I wanted the bright set to juxtapose the beautiful muted fall colors while photographing these highly stylized images with only natural light. I envisioned a stage where the models could exist with the product in their own world.

This project was also where I was first introduced to Colleen’s mom, Elizabeth Clines. Elizabeth was probably the biggest supporter of Anchal and cherished this moment, witnessing her daughter’s achievements at their family’s home. I should also mention that her dad, Tom, joined in with a 12-pack of Budweiser as we wrapped up a perfect production on a beautiful October day.

Colleen has always said that this was her first time witnessing a project of this scale, and she was amazed and overwhelmed by my generosity in supporting Anchal with these images. It marked the first professional production of Anchal’s existence, with neither of us knowing how far this project could come. But it would also be where Colleen and my feelings began to develop beyond a professional relationship. Truly it was a beautiful experience, and, we both individually felt it was one of the best days of our lives.

THE FIRST DATE - 2020

When December rolled around, I was set to spend the month in Cambodia on a heavy, heart-wrenching human trafficking project. It differed from the other humanitarian work I had done, in ways that were both physically and emotionally taxing. During long nights that began in the evening, we’d be undercover, witnessing the abuse and trafficking of underage girls and boys. I saw things that I’ll never forget and that I carry with me to this day.

So coming home to a Louisville that had just celebrated Christmas was deeply challenging and isolating. Newly single from a two-year relationship, I returned to a house that had been vacated of nearly half of its furniture and that emptiness hit me deep. I was adrift, not sure how to process everything I had seen when a friend called me up to join him on New Year's Eve.

We rolled into the newly opened High Horse Bar where he very lovingly left me an hour before midnight. Lucky for me, the bar was filled with friends and colleagues, including Colleen and Maggie. I think Colleen could sense that my heart was burdened with a lot since our last meeting, and she was gracious enough to lend an ear. It felt good to talk to somebody who understood the extremity of what I witnessed and had a grounded perspective on human trafficking and the horrors that exist around the world. She drew that darkness out of me and I suddenly felt like I could be present to all the wonderful people and good times happening right there in front of me.

Now, it’s one thing for the universe to pull two people together, but it’s up to them to take that next step and cross the threshold into something more. In the spirit of starting a new year and throwing caution to the wind, Colleen admitted to having a crush on me. I’ll never forget how she looked, the glitter around her eyes sparkling in the streetlight outside the bar. I felt swept away, both in awe of her electric soul and drawn to it all the same. Our night ended with a kiss and a dance, and I was overwhelmed with a feeling of peace and love after a month of so much uncertainty. Just having Colleen by my side seemed to tether me and I was never more ready to start a new year and a new relationship.

There on Story Avenue, it would seem the next chapter of our lives would begin. We met the next day for brunch, our first date on the first day of 2020. And, as I remember it, we didn’t really separate after that night. The next two months were a true honeymoon period, especially considering that we had no idea what was coming around the bend. 

Our March trip to India was inevitably put on hold when a global pandemic stopped the world as we knew it. I was contending with the loss of work, finding creative ways to keep my business afloat, while Colleen and Maggie were trying to keep the artisans they employed in business. They shifted their focus to selling masks and the two of them were often up late, sewing until their hands hurt and eyes watered.

But quarantining together strengthened our relationship. Before the pandemic, our work made it hard to be in the same place at the same time. While there was a lot of anxiety about the world around us, we were rewarded with a moment of peace that just happened to coincide with getting to know each other more deeply.

We began crafting cocktails and bourbon tastings, dining on the patio, and trading stories by the fire nearly every night. I discovered how to crack an egg with my forearm, fileted a catfish for the first time, and took a stab at making hot sauce from scratch. We made so many new traditions and tried a host of hobbies. Takeout tacos, board games, daily 5:00 pm broadcasts with our governor Andy Beshear, dance parties on Zoom, late night weightlifting, edible gardening, and weekend camping. It was all the things you learned over so many years that we got to experience and explore within such a short period. And in all that uncertainty, we leaned into loving each other at a time when the rest of the world seemed to fade out of view.

PHASE TWO - 2021

The pandemic was also incredibly beneficial to our collaborative partnership, as we had unlimited time to workshop our ideas and plan for the project. This led us to the next phase of photographing Anchal in October 2021, when I went to their offices in Louisville to capture a “Founders Portrait” of Colleen and Maggie. 

I knew from the onset that I wanted to photograph the two sisters in a really special way, one that highlighted their relationship and shared dreams. They are two people who are so interconnected that they’re often on the same wavelength, but sometimes that wavelength can be absolute chaos. A chaos only siblings can understand. And while they are individually incredibly intelligent, creative souls, they’ve discovered that together they can do more. They rely on each other in a way that transcends most business partners and the work they do is strengthened through that love. As siblings, their friendship has always been the core of what makes Anchal feel like a family both in Louisville and in Ajmer.

I wanted this second phase to also be comprised of a few lifestyle images of the office, featuring the all-women staff, so it seemed logical that we would photograph on location. Since the first phase had the feel of a big production, I was eager to deliver the same quality for this next part. We set up a lifesize “black box” in the parking lot outside the studio of Anchal, taking inspiration from artists like Peter Lindenberg. I also had a beautiful Oliphant backdrop that really added a dynamic and dark edge to the images. Ultimately, the box enabled us to solely rely on natural lighting. I wanted it to mirror the organic nature of the first project, with a warm and ethereal feel that could tell the story of these two sisters. For me, this portrait was incredibly important to tie the fashion and product photography with the portraiture we would be employing in India later on. Especially because all of it comes together with the support of these two women.

THE WEDDING - 2022

When Colleen and I started to date, we knew exactly what we wanted in a relationship. We weren’t going to waste each other’s time figuring out our feelings and respected each other too much to keep the other in the dark. From the onset, we never spent much time skirting around getting to know each other. And our first date consisted of deep and soul-bearing conversations that seemed to never end. 

For someone who had brought an abundance of love and adventure into my life, I knew that when I asked Colleen to marry me it had to be memorable. I had purchased a Tanzanite stone during a 2020 trip to Tanzania, and while I was initially going to give it to her once I got back, I held off so I could customize an engagement ring. Since she graciously waited, knowing that an engagement must be around the corner, I decided to plan something epic and life-changing for us to share together.

When I first met Colleen, I had never left the country and never dreamed that my first trip abroad would be to a place like Tanzania, Africa. It wasn’t like dipping your toes in the pool of cultural immersion, but rather diving head first into an experience that is wholly different from anything you ever knew. It was indescribable, and I’ll never forget that feeling of wonder that awoke such a passion for traveling and humanitarian photography. I left not knowing if I’d ever return (I’ve gone back nearly twice a year since 2015), let alone for something as memorable as an engagement. Yet I think after spending the pandemic together, our taking a trip to Africa was a testament to exploring the world again—this time with each other.

In February of 2022, Colleen joined me in Tanzania and we were fortunate to have a day where the two of us were the only ones staying at the mobile camp in the bush. I had been snapping photos of her all throughout the trip, getting her comfortable with the “photographer kneel” so that she wouldn’t suspect a thing if I just happened to get down on one knee. The sun was setting behind a small grove of Acacia trees near Lake Ndutu when I asked her to pose for one last picture in the beautiful golden light. 

While her back was turned I pulled out the ring box and asked her to face me. At first, she didn’t quite understand, mistaking the ring for some photography equipment, until the confusion turned into shock. True to form, my camera was ready to capture her excitement and joy, marking the moment in memory and for all our friends and family to share. We celebrated that evening by the fire and shared a bottle of rare bourbon, enjoying the wild sounds of the African bush and a sea of stars above. It was an incredible night.

Only eight months later, we sealed the deal on her family farm, the very same location of that first project three years before. You could say that 2022 was a time of growth for the Clines family, who had three weddings within one year: Tommy, Maggie, and Colleen. We were married on the very same set from the first production on October 15, 2022, nearly three years to the day we had first used it. And it hit that the project was the catalyst for everything and the foundation for our connection. To honor that by incorporating it into our wedding helped make the day unique to us and unforgettable. Topped with incredible cocktails, amazing food, and fantastic music, I will always look back on our wedding day with such appreciation for the friends and family who made it possible.

PHASE THREE - 2023

After an amazing honeymoon in Greece, we were moving into 2023, and our trip to India was finally happening, albeit several years later. I had done as much planning as the three-year postponement had allowed, but it seemed that everything came together so quickly leading up to our flight in March. It was very important to me that I maintained the same level of detail and production that I had carried throughout the different phases of the project. So this next one needed to match the others while also being the biggest component of the entire series.

While I had been to India in the past and Colleen many times for Anchal, this journey was different for both of us. We were going as a family. Maggie’s husband Dave was on board and I was going as Colleen’s partner, not just as a photographer. This trip would be 10 total days with 4 of those days being just travel, so every moment was planned precisely.

With the vision I had in place, I had to pack all the necessary equipment, which included a portable studio. Lighting, stands, silks, water bags, modifiers, cameras, lenses and more. I’ve learned the big cases can be troublesome for international travel, but it was the only option.

So when we touched down in New Delhi and my oversized equipment case was still in London—which I knew thanks to an AirTag—I simply scoffed at what is a common issue as a travel photographer. But I was deeply concerned I wouldn’t receive the case before our next flight to Jaipur, or the subsequent 5-hour drive down to Ajmer. Thankfully, my WhatsApp pestering paid off and I was able to claim my bag about an hour before take off for the next flight. When we did finally arrive in Ajmer after 48 hours of straight travel, we were all relieved and exhausted, but eagerly anticipated the following day.

While my other humanitarian work prepared me for the documentary approach needed, I was new to being a husband on set. I found myself having to switch out of certain creative states to be present to my wife and her needs, with an extra sensitivity to working with women from a marginalized community. While it took more time for me to bounce between the two roles, it also helped me foster a deeper connection with the subjects and their stories.

We started off the first day by meeting the leadership team and talking through what we wanted to accomplish. It was a bit more relaxed than some of the other international projects I’ve been on, and I think it was important to take it slow. When we first met the artisans I didn’t even have a camera in my hands, and instead took as much care to be present and open so they could feel comfortable before the production the next day. We wrapped up by doing a location scout and I was confident with all the decisions we had made in pre-production that would help make our days in Ajmer as seamless as possible.

The next day was the most robust production day. The focus was the portraits of the artisans, which I felt was the most integral component. We built an outdoor studio on the balcony of the Ajmer office, complete with an 8x8 silk, multiple lights, multiple modifiers, and water bags to hold it all down. We then taped a neutral beige fabric backdrop to an outdoor wall where the artisans would sit. Over two hours, we photographed 12 of the artisans, taking the time to work at a pace that ensured their comfort and understanding. A member of Anchal leadership, Manju acted as a fixer, translating directions to the subjects while Colleen stood by my side as a familiar face and support. The pace was quick, but the photographs pushing through my laptop were beautiful. After we completed the artisan portraits we spent the afternoon photographing everyday life at Anchal. Stitching, sewing, laughing, and loving each other.

The following two days consisted of artisan home visits, to see where the artisans lived and their families that they supported with this work. It was humbling to see the small quarters and living conditions, but was the emotional depth needed to express the importance of the impact of Anchal. Along with the help of Dave acting as my assistant, we photographed a portrait of each artisan in their home. During our transit to the homes of the artisans, I took the time to get establishing shots of the city of Ajmer along with some street photography. These would help describe the daily commute and lifestyle of the artisans, and add another layer of cultural dimension to the project. 

Our time in Ajmer was the most intensive and rewarding part of the trip. It ended with a joyous celebration filled with chai tea, games, dancing, and an afternoon off work for the artisans.

We left soon after for Jaipur, where we stayed for a few days celebrating life as tourists. I did take this opportunity to find as many beautiful spaces and landscapes that could help add to the cultural flavor of this project. It’s so apparent that the style of architecture and intricately designed textiles branch from the same seed of inspiration, that these images anchored a sense of place in the series. The couple of days in Jaipur felt like a dream, I was able to take a beat, relax and enjoy some drinks and downtime with Colleen.

When we arrived back into the Unites States, I took a deep breath on the project, stepping back after completing what (at the time) felt like the hardest part. I focused on other work for some time until Colleen started to ask me about what came next. We had built an incredible library of images, now what?

It was November of 2023, and Anchal had just moved into their new studio and opened their brand new storefront. I kicked myself back into gear and planned the last two productions of the series. An updated look of their office and the last installment of their product mix at the Clines family farm.

Because India was the trip that solidified us as a family, it was truly the anchor we needed to face what came next. Unfortunately, the months afterward were some of the hardest Colleen and I have had to face in our lives and in our relationship, as we dealt with the significant decline of her mother, Elizabeth.

PHASE FOUR - 2023

In September of 2023, my mother-in-law Elizabeth Clines passed away. She passed surrounded by immediate family while we laughed and shared stories just like she would have wanted. In the three short years I knew her, she became a second mother to me. She welcomed me into her family with profound love and friendship. And, she was always one to ask about my life, my love for her daughter, and my career. We connected on adventure, travel, bushcraft, survival, primitive living, and our love for photography. I miss her so much.

After some time, we were able to photograph the last phase of this collection back at the farm. Doing so felt like coming home, both to a place that was special to us as a couple, but also where I had first met Elizabeth and joined Anchal professionally. Returning once more to the farm, and in the cyclical nature of it all, set again against the warm colors of fall. Along with my crew, we photographed several quilts and jackets, using a model and prop stylist to elevate the imagery. That stylized photography tied in everything we had done back in 2019. I was ready to launch this collection into the final phase of completion.

THE EXHIBITION - 2024

I knew I wanted to have a fundraiser and a party to celebrate the conclusion of the project. I saw this as an opportunity to educate people on the transformative impact of Anchal, with firsthand accounts. It started with the idea of having large format portraits of the artisans with audio installations of their stories. We intended to both sell the artwork and thier products while asking for general donations from the community.

I’m fortunate to sit on the board at KMAC Contemporary Art Museum, having photographed many projects for them over the years. They’re the only contemporary art museum in the city and right in downtown Louisville. Their mission and team mean a lot to me personally. So I approached Joey Yates, the Curatorial Director of the Museum, in the middle of October and told him about the project and showed him a few photographs. All I wanted was to ask if I could host a fundraiser there for one night. Joey blew me away with the offer of a five-week exhibition. While I hoped for something semi-permanent, I was so new to this aspect of the art world that I didn’t expect it to happen that easily. We found a time slot that worked, March 2024. Now the hardest part began.

It seems at every turn there was someone I could lean into from my network who was willing to work with me on this crazy venture. I jumped on a call with my rep and editor, Stacy Swiderski, and walked through every detail of the project and the dream for the exhibition. Fortunately, with a background in fine art, she felt completely comfortable taking the reigns in planning the exhibition design and execution.

I sent Stacy nearly 10,000 images. She culled, sequenced, and curated those 10,000 to just 41 images to create a cohesive and impactful gallery. She then built mock-ups, including a small-scale model of the layout, and grouped the different elements into stories that one could walk around and interact with.

All printing and framing of the 41 pieces was handled through Laumont in New York City, and who does a lot of printing and framing for major photography exhibitions in the city of New York and beyond. After several discussions, we decided to use a technology called UV printing, which allows for a sharper, clearer image as the ink doesn’t have time to spread before it is cured. It's not only better for creating fine detail at a macro scale but is also environmentally friendly, keeping in line with the mission of Anchal. We used a Diabond aluminum backing and finished off by crafting custom 1/4” maple frames with a Soho Marcuse Matte finish. At this point, I was giving this artwork my everything. Stacy took my vision and actualized it beyond anything I could have ever imagined, and I am so grateful for her input and guidance.

Another big hurdle was figuring out how to develop the audio installation, which for me was at the core of the exhibition. Along with the portrait of each artisan, I wanted a set of wireless headphones to each play a distinct audio track. Each audio track aspires to encapsulate the essence of the artisan’s life experience, focusing on their journey and the transformative impact of Anchal, in their own words. Through this intimate auditory experience, I wanted people to not just see the art, but also connect with the remarkable women of Anchal on a deeper emotional level, providing a glimpse into their extraordinary resilience and strength.

And this time, I had no one to turn to when trying to approach getting it done. It was a matter of finding the right equipment. I tested a crazy amount of cables, adapters, and headphones, trying to make the audio as seamless as possible. After a month-long search, I finally landed on a quality passive, noise-canceling pair of headphones, with the correct female 1/8” jack and the smallest MP3 Player on the internet. This setup would loop the audio track and cancel all exterior noise, so all one had to do was pick it up and immerse themselves in the story.

Once I felt comfortable with the installation, we needed to interview the artisan women, translate their story and record a narration. Conversations with each artisan were conducted by the trusted Anchal leadership team in Ajmer, India, and then translated into English. Through an online talent search, I auditioned over 200 Indian voice actresses, narrowing it down to the 4 we would need for our audio installation. Each story was then brought to life by voiceover, sounds from India, music composition, and sound engineering.

The next step was to begin work on the launch of the exhibition. Fortunately, a close friend Tyler Anderson, operates an experiential marketing and events company King Sixteen. I felt they were a perfect fit to curate the event and help create an ambiance and atmosphere for people to tap into. King Sixteen and I collaborated back and forth on every little detail, such as the warm amber lighting, atmospheric music, Indian-inspired cocktails, and food. We even used diffusers to generate smells akin to the incense and spices familiar to India. As a detail-oriented creative, it was important to consider how the event could pull at your senses in a way that contributed to the experience as a whole.

The exhibition and launch were similar to a giant puzzle, with so many pieces to place and so much to do, it consumed my life for the better part of two months. There were many parties involved and so many boxes to check. The color swatches, titles, the descriptions, the copy, the logo, the website, the poster design, the program, the press release, the postcards, the email blasts, the VIP prints, the cocktail menu, the to-do list seemed endless.

The week of the exhibition launch, we added elements of organic movement by hanging the Anchal quilts from the ceiling of the museum and displaying the textiles in many places across the room. One section featured some of the behind-the-scenes images from the entire project clipped to the wall like snapshots of our memories. It helped highlight the context of how we made this project happen over the years.

Lastly, a small section was dedicated to Elizabeth, who was always the first to purchase any Anchal design and single-handedly owned more quilts than any other customer. As a proud mom and fierce supporter, she hung onto them with the belief that they would one day be displayed in a museum. We took the opportunity to feature the quilts from her collection in a small corner of the exhibit, knowing that this day would not have happened without the love that she brought to her family and the passion she had for this organization.

With all the plans in place, we employed all our efforts into marketing on social media, hanging up posters locally, and even made a few appearances on the news. So when 400 people showed up to our opening night event I couldn’t even comprehend the magnitude of this support. While the day of the exhibition was a whirlwind of faces new and old, it was beautiful to see both the Anchal community and art community come together. We laughed, talked, hugged, and snapped photos—and my memories are a blur of so many smiles and kind words. For my first solo exhibition, I was deeply humbled by the ability to showcase this work and share my story of Anchal in such a powerful and heartfelt way.

This project was a fusion of everything that I love in photography. A fusion of fashion, portraiture, and humanitarian photojournalism. It was truly a passion project, completely funded and executive produced on my own. The goal was to merge my visual aesthetic with the identity of Anchal and bring to life a body of work that could not only showcase the makeup of the woman-owned and operated company but also provide an intimate glimpse into the backbone of the company: the artisan women in Ajmer, India.

When I consider who I was before this project, it feels like a lifetime has come between that man and who I am today. Because this project also transformed my life. My collaboration with Anchal was the culmination of so many moments across more than 10 years of Colleen and my relationship. And it felt even more special to end this high note as a married couple, with a baby girl on the way.

This project far exceeded my expectations in both the scope of impact and its final execution for everyone to see. I have never felt so connected to the meaning behind my work, hearing the stories and giving a voice to the spirited and brave women of Anchal. I am grateful to Colleen, for seeing in me the compassionate man that could honor her dreams with my own. And for allowing me to step up to the challenge of this project, and grow with every stage. I can’t wait to see all the ways we continue loving, learning, and supporting each other for years to come.

This project is dedicated to the memory of Elizabeth Clines. Elizabeth, a beacon of strength, compassion, and unwavering support, inspired not only the foundational principles of Anchal but was considered their biggest fan. Her belief in the transformative power of art, coupled with a deep commitment to serving people, continues to guide and illuminate the path forward for Anchal. Her foresight and steadfast support are at the heart of this project, offering a tribute to an exceptional person who saw the potential for greatness within every stitch and story. Elizabeth was always the first to purchase a new Anchal product, amassing a remarkable collection of Anchal quilts in her home. She cherished her collection, convinced the quilts would someday find their place in a museum.

Thank you to my family, friends and creatives who transformed this project from a mere idea into a profound reality. All of your support, creativity, and tireless effort built the backbone of this exhibition. Together, we've shown the power of community and collaboration, all for meaningful change. It’s truly a dream come true. A heartfelt thank you to all the incredible women in India that provided their time, opened thier lives and shared thier talent for the face of this project.

Anchal
Colleen Clines, Maggie Clines, Shefali Modi, Jaimala Gupta, Mel Simon, Ashleigh Bakken, Elizabeth Dumesnil, Claire McMahon, Annie Clouse, Tom Clines, Elizabeth Clines, Dave Cobb

Design
Lindsay Thompson, Jeremy Richie

Wardrobe & Prop
Fabiane Lash, Miranda McDonald, Emily Pierce, Rory White

Hair & Makeup
Lambsey Reeves, Kelsey Taylor Fell

Talent
Julia Zou, Tatiana Alexandria, Kayla Prather

Nadus Films
Coury Deeb, Justin Gustavison

Philly Reps
Stacy Swiderski

Clay Cook Photography
Jonathon Chi, Adam Mescan, Ryan Grant, Danny Bloom, Emily Frye

Re-Touching
Jordan Hartley

KMAC Contemporary Art Museum
Joey Yates, Anna Blake, Megan Hines, Julia Comer, Kris Thompson, Michelle Staggs and the entire staff

Laumont Photographics
William Newman, Kelly Lilly

King Sixteen
Tyler Anderson, Mike Brady

Artisan Narration
Benazir Bhagad, Tamanna Balwada, Karabi Ganguli, Kaumudi Upadhyay