These pictures find meaning and poetry in ordinary ‘found’ objects and environments. They are selected observances and musings; spontaneous, visual accidents and discoveries. An image starts as a centered subject. The camera frames and edits drifting angles and parallel lines, in a precise composition filled with geometry, metaphors, symbols and icons. This layered imagery is more visually philosophical and meditative than illustrative. Streaks of light, deep shadows create more of a mental picture, than an objective one. As the picture is explored and processed by the viewer, emotion and personal nostalgia further drive the story into the mind’s eye.
In RETURN TO START, what started as an architectural look at a mid-century geodesic dome, compelled by curiosity, evolved into a complex visual poem. In the studio, the printed image revealed a scene rich in shadow, light, and form. The dome becomes a setting sun with rays emanating out to the periphery. The trees and shadows create ambiguous pictorial space that contradicts itself like a scene from the film, Last Year at Marienbad. In the middle, a band of unrelated debris appears with a boat in it. Also centered, and following the horizon line, is a broken coral wall that combines man and nature’s efforts at building. The speakers and lights suggest a show is going on. The unexplained antenna suggests someone else may be observing something; listening or measuring. The 2 figures are almost classically posing, adding scale and perspective as they would in a 17th Century landscape painting. The sun’s symbolic resurrection can be interpreted through the small shoots growing in the ruins. This image was taken at the Miami Seaquarium.
Similarly, DEBRIS HORIZON 1 also refers to the setting sun metaphor with its partially demolished, translucent, cadmium yellow mosaic façade and centered horizon line of debris set against a rational, geometric structure.