My interest in photography as a means of expression is about the kinds of
visualization and selection that photographic seeing affords me…a revealed sense of order, beauty and life in the commonplace. The five series presented here span three decades of work. Influenced by Eugene Atget and Walker Evans, I approach the photograph as a stage set, always aware that an image is selected/constructed, and that light is key.

These ships at sea were a canvas of blank glowing white and deep black spaces, a backdrop for formal architectural seeing with an emphasis on the surreal quality of the light and formal definition of the space.
B&W silver prints 16”x20”

Gravel pits in rural Western New York State where I live were the object of these landscape photographs. Allegany County has the right veins for strip mining gravel. The scars of that activity are ever present in this poor, rural countryside. Like the contemporary photographer Gregory Crewdson, “I set out to make the most technically, formally, aesthetically beautiful photographs I can.” In the late afternoons of winter and the early evening of summer these desolate, isolated places swing like a pendulum into the most magical and mysterious landscapes.
B&W gelatin silver prints 20”x24”

The NY/PENN League comprises 14 teams at the beginning “A” level of Major League Baseball. All of the teams are located a reasonable driving distance from my home. I am a “diehard” Chicago Cubs fan, but live too far away to feel the daily rhythm of the game. This project gave me the opportunity to feel like a participant again. I could be on the field/ in the park from early afternoon until the lights went out late at night. I was able to realize photographs that were grounded in traditional subject matter: still life, landscape, portraiture and documentary. The work became an exploration of the event that included a strong aspect of dance, especially in the pre-game practice rituals; drama revealed in the formal composition of the field and the stance of the players; the stage set quality of the natural and artificial lighting; the players interaction with the community; and the earnestness of the young ballplayers.
B&W gelatin silver prints 20”x24”

I have always been fascinated with architecture, with the way it defines a sense of place
and reflects the particulars of a cultural life. It is a means for a powerful visual dialogue that has the potential to reflect the culture and its changes. In the spirit of Walker Evans, I constructed these images straightforwardly, at eye level, and in available light. The privilege of spending 4 months in Italy allowed me to discover these dramatic, yet everyday spaces on daily walks, and literally opened a new response for me in terms of a heightened sensitivity to color. A sense of wonder and pleasure led me to make these interior representations.
Color “c” prints, each of 3 prints is 20”x24”

With interest in interior spaces fresh in mind, an article about the restoration of “ painted curtains” in Vermont led to this current project. This series extends the triptych approach used in the Italian Interiors, and reengages my interest in civic spaces like the baseball stadiums. With interest in interior spaces fresh in mind, and article about the restoration of “painted curtains” in Vermont led to this current project. The curtains are painted landscapes and street scenes that create an unusual inside/outside dynamic. There is concern for architecture, past and present in a concurrent space, and a sense of community responsibility for our heritage that is rich in American social/cultural history.
Color “c” prints, each of 3 prints is 20”x 24”

Seaside is a world famous community on the Gulf Coast of Florida. In the mid-1980’s it was the first expression of the New Urbanist movement. Similar to the other color triptych series in Italy and Vermont, I was interested in making photographs that express the idea/ideology of Seaside, where architecture enhances community. Escape To Create is an art residency program that awarded me a January month to live and work in Seaside. Since it is a summer place, there were few people around when I made this work. I was free to focus on what I felt was the bones/structure/form/color that revels the depth and substance of Seaside, beyond it’s easy beauty.

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