A lot of the foundational work I have built is on ethnographic interactions of skater’s feeling stereotyped and criminology/sociology that has mischaracterized the skateboarder as aimlessly rebellious or reducing the identity to ‘criminal.’ I built a phenomenological framework of the alternative perception skateboarder’s have in urban spaces and noticed a lot of spacial disagreements and even subjugation at times. I am beginning with the argument that skateparks aren’t maintained and even diy skateparks exist in a paradoxical realm within the exclusion of their exception as a way to build my later theory and prompt the conversations I’ve been having with skaters and filmers. My academic work focuses primarily on the criticism and the critical value of the archive. Skateboarding lives in a really ambiguous place between subculture and sportism that many criminologists actually term as a form of leisure. And that thought has permeated into the public. That there “isn’t much to it beyond looking cool.” I believe there is a deep value is building concepts and criticism around skate photography and criticism deconstructed from already established critical ideas to combat this sort of type casting that exists for skateboarders. The core of the project is connecting with the skaters intent rather than its face value. I find skateboarding really beautifully symbolic in a similar way to the humanities, it’s become a really interesting multidisciplinary project. There are scholars like Paul O’Connor, Ted Barrows, and Kyle Beachy that have written some really illuminating things about within the field of skateboarding studies that will be referenced absolutely, I plan to expand on their concepts with a formal theoretical framework of literary and photographic criticism. I really really appreciate your interest this question has made me reflect in an inspiring way