Keith Jacoby graduated from Yale University in 1996. His decision to jump into an old but reliable Corolla and seek out the ski bum life indirectly lead him into a love affair with photography and the open road. While the next few winters were spent playing in the deep powder of the Wasatch Mountains, summers opened the door to exploration and a growing interest in light's magic.
In 1999, Keith was invited to stay in a beautiful Corsican Villa and explore his connection with the lens under Mediterranean light. This beginning sparked an unexpected adventure across continents and into the Sahara Desert. Inspiration surrounded him and the freedom he felt became a powerful influence in his work.
Back in the states, Keith continued to explore. He crossed the country numerous times and began studying with photographer Gary San Pietro. While on the road, he discovered a growing fascination and love for the diversity light illuminates along the way, especially as it pertains to the interaction between shape, texture, color, and motion.
Keith returned to the desert a year later to reconnect with a group of Tuareg, Berber, and Bedouin drummers he had met and sought out the silence in the Sahara that had soothed his soul. Motion began to play a more prominent role in his exposures and later that year, Keith enrolled in a guerilla filmmaking course at the New York Film Academy (NYFA). Coincidentally, 13 years later Keith would meet his wife, Zineb a Moroccan native studying at NYFA.
Returning to photography, Keith was commissioned to create a photographic documentary for Chess-in-the-Schools, a New York City non-profit that brings chess to disadvantaged youth throughout the five boroughs. Keith has also sought out the active lava fields of Hawaii. In connecting with Kilaeua, Hawaii's most active volcano, Keith began abstracting lava's molten motion on film. The primal energy that he felt while traversing Kilaeua helped provoke new insight into his work and life.
Keith’s work has been displayed at numerous art festivals, within corporate collections, around Union Square, and outside the Metropolitan Museum of Art. One of his pieces was accepted into the Museum of Modern Art.