Survivor

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“How much do you sacrifice? What’s best left included? What’s better left out? That sums up the whole photographic process for me. It’s about what survives and what doesn’t.

This image is like a poem. There’s a lyrical quality to it. There are echoes and rhymes within it. Though one is dark and one is light, the shape of the cloud is similar to the shape of the tree. The darkest and lightest values are linked through shape. The eye travels back and forth between the two. The common language found in their contours sets up a visual dialogue between the two. The image is bathed in a warm light, almost red, an appropriate color for both the earth and a heart. The limbs of the tree branch out contained within the body of stone, like veins. The image breathes. While there may be only a few visible signs at first, still, life persists, even in wastelands …”

Read the rest of this Statement here.

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Posse

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“The stunning presences, within the series Allies, reminiscent of Native American totem poles, African sculpture, or Hindu figurines, had been pursuing me for months. There were, and still are, dozens waiting to find homes. While the majority of the images I had created featured solitary figures, I was drawn to explore the effects of many within a single image — group dynamics …  Most leading actors need supporting actors, all save the soloist need accompaniment. But, when supporting actors compete with main actors, the thrust of the drama is confused …”
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Triple Goddess

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Edge was critical throughout the entire process of composing Triple Goddess. First there was contour. What shape would the stone finally take? The original had been buried in sand. The stone was far too large to dig out, so I cut away the background that threatened to envelop it. This made certain determinations of shape. It may even have been the shape the sand made out of the stone that first attracted me to it. Had I seen the entire stone I might not have been so drawn to it. To date I have no idea what the full stone looks like, as I was only able to see a portion of it …
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Read more statements and see more images here.

Oriental I

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“I have always been particularly attracted to Asian calligraphy and painting. Ancient oriental paintings rely on overlap and atmospheric perspective rather than linear perspective to depict the recession of space on a flat plane. I particularly like the way they treat morning or evening mist over mountains. One abstract shape precedes another, successively growing paler, and each is paler at the bottom and darker at the top. You can see the atmosphere …”
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Resonance in Red and Gold

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July 18, 2003

“Many meditation practices suggest gazing at the flow of water, in some cases watching or visualizing a drop of water hit the still surface of a greater body of water. Like many mandalas, Resonance in Red and Gold has a rhythmic centering quality.

The methods of both photographer and painter are married here. The color is an invention. The composition, both representational and abstract, offers a fluid structure to explore the power of color, physically and psychologically.

Red, the warmest color. Is its presence here the reflected glory of the heavens, a display of bodily fluid, or an omen of toxic waste? The power of this image can be found, in part, in tantalizing ambiguity. When looking at this image, I’ve asked myself why red, time and time again. I can’t answer the question. But by asking the questions that surround it I learn to more fully appreciate the presence and power of red.”

Read other artist’s statements here.

Find out more about my workshop The Power of Color here.

Antarctica Images – Preview

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Here’s a preview of four images from my recent trip to Antarctica. There were many surprises on this trip. There’s a quality to the trip and the images made during it that defies easy description. It’s going to take finishing the editing and processing and writing about the work to better understand it. Work teaches you. And every stage of the process teaches you something new. There’s no substitute for doing it. Stay tuned for images and text in the coming months. You’ll see them here first.
Check my previous posts to learn more about the trip.
Enjoy my Antarctica galleries, book, and statements.
Learn more about my workshops here.
Early registrants get discounts at home.
Members get discounts abroad.

Influences – Sculpture

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Is there a pattern to the artists above? Yes. They’re all influential to me.

Who are your influences? If you’re an artist you hear this question all the time. Many of us resist the temptation to answer as our answers may lead others to a poor choice of words – derivative. The reality is we’re all being influenced all of the time. It’s interesting to separate your enduring influences (the ones that stand the test of time) and your current influences (the most recent). For instance, I just saw the Louise Bourgeois exhibit at the Guggenheim Museum in NYC. It’s influencing me. Will I do something with that influence immediately? Will that influence stay with me long enough to become significant? Time will tell. I also visited my favorite gallery in the Metropolitan Museum in NYC – the Rockefeller wing containing artifacts from primal cultures typically used for sacred or ceremonial functions. I go there every time I visit the museum. Every time I’m thrilled. The influence of this kind of art has been and will be with me my whole life.

Read more about my influences here.