In this series I am working with the notion of place.  My sense of the places I know and the places I discover is constructed from an amalgamation of different sights and experiences over time. The works in this series are complex compositions that describe fragments of information, time, and space.  I combine these fragments to formulate my impression of a place because I find that no one image alone can describe the sensation of place for me. I must construct it from multiple parts of my experience. 

I have devised a method of drawing with digital photographic information that I use to layer image upon image as I build up the surface of the image. I use a flattened perspective so that multiple views and locations are densely compressed within a complex surface.  The picture plane becomes a vibrant, kinetic space where many different views come together in a landscape without perspective. 

I am particularly interested in the industrial and urban landscape; power plants, shipyards, shipping ports and vibrant cities are most appealing to me.  These places have a unique aesthetic, sense of color and rhythm. 


The Swim series is about the vernacular dance and choreography inherent in the quotidian experience of swimming. In the work I am looking at the choreography of the individual when his/her weight is lifted by the water. Each person’s body responds to the freedom of weightlessness in the water environment in a unique way.  This is what fascinates me when observing ordinary people in the water. Later, when composing the pieces, I look for patterns of movement and rhythms that speak about how the subjects, who become my “dancers,” relate to each other in the overall choreography of the scene.  I construct specific patterns of movement across the space of the photograph. I’m interested in how each dancer’s movements lead into, compliment, contrast, and punctuate the movements of the other. 

The works are constructed using the grid as a point of departure. Within the confines of the grid’s rigidity I look for the organic rhythms of the water and the “dancers” to emerge. I enjoy working within this contradictory space where the unyielding structure of the grid attempts to contain the fluidity of the water and the bodies. 


In many of the works in my Topographies and Swim series I have used the grid as a point of departure. Within the confines of the grid’s rigidity I look for organic rhythms to emerge.  I am interested in the contradictory nature of these fluid constructions. For me these images present a discourse of contradictions- micro and macro, time and timelessness, and the containment of things that cannot be contained.  The grid lends geometry and so tends to rationalize or abstract what would otherwise be mainly pictorial.  I am filling a vast expanse, a kind of landscape, without perspective.

Here I use the idea of topography, a description or an analysis of a structured entity showing the relations among its components, as a format in which I can keep small details and still make a space that could go on and on, like the ocean itself.  When we look at the world we assemble small views into a large idea like "the ocean.”  We can't see it all at once  and my views construct the whole from its parts.

Other works in this series rely upon different types of construction.  I use digital drawing along with photographic data to create images with a compressed perspective.  These works are also based on elements of time in that they are complex compositions that describe fragments of information, time, and space. Our sense of time is constructed from small views like hours, days, weeks, and we assemble those into a larger idea of life itself. 

 The idea of making one photograph of any given moment in time is not enough for me.  I prefer to gather together many moments, each with its own unique characteristics into one unified whole. I often use layering of images to both obscure and reveal images beneath the surface.  I want to capture the feeling of time, light with its reflections and refractions, and movement.  This, to me, suggests the space both above and below the surface, the present and memory, gathered together into one.

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