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| REALITIES |
| I wanted to create situations that address my concerns about contemporary living, mainly our struggle in balancing time and place. These works express the conflation or exchange of these shifting factors. |
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| DOUBLE VISION |
| While the clarity of the single photograph reveals much about the specifics of a place or event, jarred, blurred, or altered images shift attention to consider the fundamentals of our visual environments: shape, line, texture, and tone etc. By emphasizing |
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| OFF BOSTON ROAD |
| When I looked over the edge, I immediately thought of Breughel's Hunters in the Snow,1556, and how distance and closeness can be achieved at the seem time. |
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| WOOD AND WATER |
| With a camera I am able to find line, tone, and texture in the natural environment in order to compose 2-D imagery |
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| HOUSATONIC RIVER |
| The golf course flattens an arc around the banks of the lush Housatonic River. |
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| POMPEII |
| Without imagery of the volcano or inhabitants, I wanted to find a way to express the event. |
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| MEMORY AND MEANING |
| Re-working pre-existing photography from WWII and the Holocaust is the basis for examining the connection between memory, meaning, and visual discovery. |
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| PHOTOGRAMS 2007 |
| These unique images focused on utilizing the inherent properties of objects as means to express ideas related to drawing |
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| IDENTITIES AND ARCHETYPES |
| My show at STCC Silhouettes: Identities and Archetypes contained abstracted figurative works. These are attempts at recognizing the singularity of our species despite the multiplicity of beliefs, experiences and physical conditions. Randal Thurston exhibi |
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| PHOTOGRAMS 2004 |
| Treating chemistry as paint or ink, I continued to explore the relationship between object, and its means for becoming an image. |
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| PHOTOGRAMS 2003 |
| Experimenting with chemistry and my presence, these images reflect my early yet ongoing desire to integrate drawing and painting into photography |
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Wood and Water: Camera based photography
This ongoing photographic body of work looks at nature as both an aesthetic influence and as an environmental concern. Being in the woods is a time for reflection and interaction. It is a time to realize that you are not really alone, but outside of the architectural and social constructs of urban living. My senses become heightened in the woods. With my camera I want to reveal the dynamic forces of nature at work, and how my own efforts in drawing, painting, and photography have brought me outside to find correlations with a greater system.
Memory and Meaning
Non camera based photography.Manipulated appropriated photographic imagery in a traditional darkroom
This work, no doubt, carries with it uncomfortable elements. In reusing existing historical imagery from WWII, in particular the Holocaust, memories, feelings, and history share the surface and content of these manipulated photographic works. Reviewing, exploring, and interacting with this imagery is a personal attempt to understand the mechanisms and scope of these tragedies. In doing so, I have been forced to reconsider my perceptions of history, identity, and memory.
While the past shapes the present, the present can determine how the past is viewed. Inherent in the photographic process of this series of works is the back and forth between determining the contents of the image, shadows and light, abstraction and figuration, clarity and obscurity, completion and fragmentation. My photographic working methods are analogous to my understanding and interpretation of history.
