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Bennett talked openly about herself and her family. She grew up on a dairy farm in Gorham and described herself as a shy girl who never did anything wrong.
When it was time for Bennett to choose a school, she was uncertain of what to do.
"I decided to go to Maine College of Art on a whim," she noted. She began photographing landscapes on her family's farm and admits an early preoccupation with animals. During her junior year, she was required to photograph people, so she set out with her camera to a party at the Old Port.
She showed the group one of these first photos: a partygoer named Horton had collapsed on a ripped up sofa, surrounded by beer cans. Horton had obviously wet himself, as well. Although Bennett's work changed throughout her career, one thing remained constant--her sense of humor.
After leaving college, Bennett began a cleaning service and simultaneously matted and framed for photographer Judy Glickman in Cape Elizabeth, Maine. Her work with Glickman gave her access to a dark room, so she was able to make money from her work. While discussing her current career, she credits photography consultant Mary Virginia Swanson for helping her gain exposure. One student asked about her works in progress, and Bennett said she was doing some work for Down East magazine, taking pictures, and building her resume. She emphasized the need to get her work in the public view, and aptly described the difficulties with meeting curators and editors, "You can't just call up the Museum of Modern Art and say, 'Can I bring my portfolio down?"
Bennett's current work focuses on her family's peculiarities and embarrassments. She explains, "I use humor to cover up the dysfunction." She candidly discussed some of the issues facing her own family: alcoholism, holiday fights and financial difficulties. Her pictures were hopeful, however, because it always celebrated and accepted imperfection as a part of life. One photograph, taken at Christmas, included piles of presents that were so high they blocked out the Christmas tree. Her uncle, who arranges an equally extravagant Christmas every year, also used 750 dollars worth of lottery tickets to decorate the living room. Bennett explained that her Uncle grew up in a poor household that always celebrated Christmas in a big way despite a small budget. Even though his children are in their early twenties, he can't give up the tradition. Similar stories dominated Bennett's talk. Her work captures the mix of stress, sadness and joy that affect every family.
When asked if her family minds the intrusion, Bennett said that her family was largely supportive, although some were slow to warm up. Although her photos are filled with idiosyncrasies, there is universal appeal. Whether her admirers are voyeuristic or appreciate being reminded that every family is quirky, she enjoys substantial acclaim. Her work is included in the Portland Museum of Art, Center for Maine Contemporary Art, the permanent collections of Colby, Princeton and Bates, and many other venues.