STATEMENT 2023 Over the years, I have documented my walks, drives, trips, comings and goings, from one point to another. The recorded moments are the shadow and light, the interplay of objects and space, of images seen in the periphery and of the passing of time. These are my preferences for capturing momentary occurrences.
The work is leading me to explore the relationship that images have with sound, layers of each building up texture and density. conjuring up a space in time juxtaposed with fragments of sound compressed, truncated split and sewn together. My work exists within the worlds of street photographer, printmaker & maker. The most current piece “Between Then and Now” can be viewed https://youtu.be/u3g51-wux6I here.
STATEMENT 2022 I have always loved process--learning by doing and undoing, building, layering, and improvisation. My current work “Composites: Images In and Out of Time” is a synthesis of my attraction to process, and the exploration of the passage of time and experience, plus the blurring of memory and recollection. I am using hundreds of photographs taken over the years, which are then randomly generated through a processing device I built with MAX/MSP software. The images flow in and out of each other, creating intriguing juxtapositions. Journeys and memories of travel are implied in the resulting videos. They emerge as abstract photographic images, combines of places, events and time, which can be viewed as stills taken from a film, or as a time based piece accompanied by sound.
STATEMENT 2015 There are linkages, things that tie the past and present together. I discovered that the Toy Tin Robots, linked with drawings based on the Bayeux Tapestry, function for me as a stand-in both for the continuum of history and as a form of self-portrait. In time these drawings/prints of robots came to represent my disabled twin brother and me. I continue the exploration with words and movement activating the images by bringing the narrative into real time.
STATEMENT 2008 In this life, the slippage of time and moments is becoming ever more apparent to me. It is those flashes of instance that I endeavor to capture. If in some way I can create an image that is evocative of some mood or of a momentary shift of perception then I have succeeded. I am attracted to movement and night images because of their ambiguity. It is my goal to be present in these brief and transitory moments. I create images out of the tradition of the family snapshot and the street photographer, sprinkled with a generous helping of painting, printmaking and drawing. I am attempting to meld the various disciplines in such a way that it meshes with the way I see. Working Method: The camera has always been one of my tools of choice. After the photos are machine printed, the computer, scanner, etching press, Xerox machine, and the colored pencil are employed to transform the images. I have chosen to print the images using a very loose lithographic hand-printing process. I scan the photos and convert them into CMYK separations, combining contemporary and traditional lithographic techniques. These separations are printed in black and white and then Xeroxed. The separations are then inked up by hand, much the way traditional stone lithographs are printed, which is based on the traditional lithographic premise, that water and grease don't mix. The Xeroxes become the plates that will receive ink. The colors of the oil based ink being Cyan, Magenta, Yellow and Black. I hand print one color at a time, onto dampened rag paper. The resultant image is a four-color print. The image is then tinted with color pencil, sealed with varnish, and adhered to wood panel. With each process there is a transformation of how the image looks but not what it is. Through this image making process I am attempting to transcend the static nature of photography. I feel that my images are more akin to printmaking and drawing than to straight photography. Through this manipulation of the images, I create an image that is but an illusion created with layers of color, dots and marks. I am intrigued by this ambiguity and paradox. Through this process I am no longer an observer but a participant.