Las Cruces, Coke Machine, 2013 - Film, Archival pigment print on cotton, 18.5 x 28 in., (47 x 71 cm.), Ed. 1/1/AP
My family moved around a lot when I was a kid, which I found thrilling, but this also left me socially unmoored and with experiences that were hard to share. I started experimenting with documentation as a means of filling a void before I had finished the fourth grade, first with an old reel to reel tape recorder bought at a yard sale I would lug around on personal adventures.
When I received my first camera while still in middle school, it, and the pictures I made became my friends. They were the co-explorer I didn't have often in my life. Like you need a pal to remember certain crazy events with, my photographs were that pal. It was slightly later in life that I realized that photographs, beside being documentation, could be art too. As I discovered painters, and later, photographers whose works I wished I could hang on my wall it occurred to me to make my own pictures to hang on my wall and maybe on other people's walls too.
Grass Shadows No. 3, 2009 - Black and white photograph, Archival pigment print, 18.5 x 28 in., (47 x 71 cm.), Series of 3 Prints, Ed. 1/3/AP
My photography tends to follow themes from their conception through many iterations and expansions which I try to reference throughout this site. I began as a strictly black and white photographer pushing and pulling my film and working hard in darkrooms to achieve the perfect print. I was obsessed with Ansel Adams' Zone System but inspired by Minimalism as my first favorite art style and incorporated this in architectural abstraction such as can be glimpsed in some remnant outtakes of my early Bon Court Abstracts studies.
After the loss of half a decade worth of work comprised of hundreds of rolls of film and prints leaving me with almost no record of this time, after a period of mourning, I abruptly switched to explore color, making a clean break with the past. Since black and white was about form and line, negative and positive space, and of course light and dark, some of my earliest color photographs like White Fence, Opatija were made almost with my black and white eye. In retrospect, to have begun immersed in grayscale before color, I know, was like working with a pencil before finding paint. So you will see color, but I have also returned to black and white on occasion, because I love making pictures, wherever the making leads.
Blurred Roses No. 3, Sarajevo, 2005 - Film, Color photograph, Archival pigment print, 18.5 x 18.5 in., (47 x 47 cm.), Ed.1/3/AP
Blurred images have their precedent in the first attempts to answer the question: could photography be fine art? To prove that the photograph had the same expressionistic capabilities as painting, the dominant visual medium at the time of photography's infancy, photographers such as those featured in the seminal photographic journal Camera Work creatively employed soft focus, (aka. blur), and darkroom techniques to emphasize emotional mood and atmosphere. The style was called Pictorialism. Though photography has come into its own, straight and unadorned, and the pictorialist method has largely been abandoned having served its function, in my own development as a contemporary photographic artist I find varying degrees of soft focus indispensable for the same reasons early photographers used it for its expressive force.
Aerial View, Over Tucson, 2013 - Film, Color photograph, C-Print, 18.5 x 28 in., (47 x 71 cm.), Ed.1/1/AP
For all of my landscapes, still lifes, and abstract compositions the underlying motivation is always documentary. Sometimes it is lyrical documentation almost poetic, sometimes it is touristical, sometimes seen from the street or from an art theoretical premise. All of my work is a captured story to myself, a completed thought or a captured tune which I might never remember again were it not for the picture I've made. I hope you enjoy looking at my work.