For over a third of a century I have been making photographs with the same camera, working in the 35 mm format. I look for beauty, irony, poignancy and metaphor. I am interested in translucency, layers, perforation of surfaces, veiled views, and glimpses of hidden worlds through gaps and tunnels. Frames within frames, doors, windows, gates and mirrors are recurring actors on my visual stage. I am a benign voyeur making up unverifiable stories from snippets of information snatched from an open gate or window.
I am fascinated by photography’s ability to consider and express the passage of time by stopping it or to suggest the past or future in one captured fragment of a second. I am interested in how a photograph may conjure or emphasize a subject by its very absence from the image. The edges of the frame are as important to me as the middle, and what I choose to leave out of the frame is as crucial to the meaning and content as what I choose to leave in. Therefore, I compose very carefully in the camera and always print the full frame.
Ultimately my work is a desire to recognize the unseen. That is, I seek to discover in the mundane a fragment of the world that may have been looked at but not perceived. I want to allow the viewer a moment’s pause to see what is normally so easily missed. My work uses light, texture, gesture, geometry, juxtapositions, and the play of scale and space within the frame. By isolating and combining objects within the frame I can reveal their overlooked importance or suggest new meanings.
The images that I make allow me to pose questions for which there are myriad possible stories. Ideally my work will make the viewer wonder about something instead of knowing it. I suppose this is a more childlike state where less is known and more is questioned. In that sense I find a gentle pleasure in rediscovering the content of my own images and in sharing them.