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Having toured the world with Wilco, The Autumn Defense, and other acts, Sansone has cultivated a flaneur’s appreciation for the act of wandering, ever open to encounters with overlooked beauty.  He further honed this skill during the pandemic, taking long solitary drives through the American south, stopping along the way to perambulate, and, in the process, creating a noteworthy body of patient and considered street photography.

With William Eggleston he shares an impeccable eye for color and light, and an unyielding belief in the world as Duchampian readymade: rife with resplendence simply awaiting the click of a camera’s shutter.  In his elliptical approach to the human element, however -- by, essentially, depicting through omission -- Sansone aligns himself with image-makers like William Christenberry and the New Topographics.  To these influences he adds a twilight sensibility of having-been, an oblique commentary on the socio-economic underpinnings of these now largely abandoned spaces that half a century ago would have likely been photographed as thriving hubs by the likes of Stephen Shore, Ernst Haas, or Fred Herzog.