|
|
P h o t o g r a p h y
My training and practice in representational lighting and scenic design paved the way
for my return and ascension into photography where my sense of style and composition stem from a theatrical sensibility; which
in turn makes my perception of the camera's viewfinder to be that of a proscenium arch. My vantage point is usually that of
a front and center position almost nickelodeon perspective rarely angling or vertical. Darkroom techniques and projects have
also been adapted from my experiences implementing the rhythmic movement and distribution of light across a sequence of predetermined
time as well as the use of various filters and accessories that shape and define illumination.
Subject matter
is fairly eclectic based on mind set and happenstance and like in Jazz I function best while improvising and being spontaneous;
thus I seldom have a specific plan or concept rather continuously placing myself in situations and environments that cause
an immediate and instinctive reaction all the while maintaining and drawing from a deep well of visual influences. The past few years my portfolio seems to be somewhat portrait dominated
based on interactions with my students, some years living on the road with jazz musicians and time on the farm. However, when
wandering, my still life images reflect my peaceful yet misanthropic nature tending to be more somber and sparse, quiet, small
and common; usually devoid of people.
P a i n t i n g
As a painter I have always worked unwittingly polar opposite to my crisp objective photographic point of view resulting in reactionary and improvisational arrays of color and reliance on rudimentary forms. Throughout this endeavor I have discovered much about my perceptions and abilities, or lack thereof, to translate visual information. A life long academic underachiever for similar reasons of misinterpreting and processing certain stimuli, the studies featured on this site are the product of lending carte blanche to my compulsions and fixations questioning and discovering my motives only after the fact. Earlier methods drew directly from the palette of my photographs that were distorted digitally, transferred onto paper and painted over; however, subsequent pieces quickly became free hand and spontaneous. The implementation of basic geometric shapes establishes rigid boundaries frozen harmoniously in eroded elemental material that is itself contained within a larger unit of measurement. The layout is asymmetrically ordered pieces of a puzzle long forgotten and existing within are vibrant uniformed families of color reflecting an attempt to categorize, compartmentalize and make sense of a not always understood world. The past two and a half years I have been painting with adults with developmental disabilities the results of which have taken me to the next level in my own projects.
|
