While many think these are paintings at first glance, this body of work is a collection of close-up photographs of small sections of weather worn and deteriorated paint on the hulls of sailboats in outdoor winter storage. To create these, I use a technique known as in-camera multiple exposure, in which I make multiple photographs of portions of one or more selected portions of my subject, which merge as they are being shot into a single digital image file to create the desired composition. They are not merged or created in Photoshop, but entirely in-camera. Generally the composition is the result of envisioning what I want the final photograph to look like, or what feeling or thought I want it to convey, and then carefully selecting and placing each of the images in the camera’s frame in relation to each other as I shoot, with each merged upon shooting into a single image, all within the camera. Occasionally it is done spontaneously and intuitively.
To me, this work resembles the way a collage artist combines different materials into a single composition, or the way an abstract painter layers paint on, distresses and marks surfaces, and otherwise works through a series of layers to create the final composition, with intention, intuition, or a combination of the two.
All of the fine art photography I create comes from my belief, as Henry David Thoreau once said, that it’s not what you look at that matters, it’s what you see, and how that influences my desire to see the world my way, and to present it to viewers for them to make what they may of it. I seldom title my abstract images. I feel a title directs, or suggests, an interpretation. I prefer to invite the viewer to derive or discover their own feeling or reaction, which may well be far different from mine. So take a minute and explore what feeling, interpretation or thought you might experience from any of these presentations. After all, that’s what abstract art is all about.
Professionally printed using archival ink, paper and matting. The works are also available in custom sizes.
I hope you enjoy the time you spend with my artwork as much as I enjoy creating it and presenting it.
Anyone can point a digital camera or cell phone at something and get a “pretty good picture”. But that does not make art. Art comes from deep inside and the techniques used to relate your vision. When I was five my mother sat me on the couch, played classical music and told me that if I closed my eyes I could “see” the music. I did, and I did. That experience birthed my belief that it’s not what you look at, it’s what you see that makes art.
So photography is my “brush and canvas” with which to render my “vision” of what lies before me, and to choreograph the three-partnered dance between my creative soul, my lens, and the subject. In short, I seek to capture and interpret life’s visual symphonies, one click at a time.
It's not just a photo of a street scene; it’s the feeling of intensity or loneliness in the crowd. It’s not a group of trees; it’s their movement, strength, balance and grace. It’s not a body of water; it’s layers of texture and color in sand or shoreline, water and sky, or in the reflections of trees and sky on the water’s surface. It’s not a person in a studio; it’s her energy, personality or charisma, or her interaction with another, real or imagined. It’s not peeling paint on a surface; its an abstract revelation amongst decay framed by a camera lens. It’s not buildings; it’s an interaction of geometric shapes, forms and colors.
Often I portray “mulitidimentionality” – a concept that things in the natural and human-made world, and life itself, exist on more than one level. Sometimes mulitidimentionality is created by making mulitiple shots of the same subject which I merge entirely in-camera into a single image. Sometimes it is created by reflections in glass, water or metal joining or contrasting two or more objects in different planes or spaces. And sometimes mulitidimentionality is created by the layers of texture, form or color presented by the composition of the image. It is a theme which runs through a considerable amount of my work, in all genres, and which I thoroughly enjoy and will continue to explore forever.
I work nearly exclusively within the camera. There is very little software processing (other than subtle adjustments to brightness, contrast and color saturation). With the rarest of exception when I use it to “blend” several images together when in-camera multiple exposure techniques will not yield what I want, nothing is “photoshoped in” in my work. It is created by what I see, how it “speaks” to me, and the in-camera and compositional techniques I employ to create the work and present it to the viewer.
These are the things that compel me to create the photographic art I make, which I humbly regard as “painting” with a camera. I invite you to spend time with my work and to feel free to find your own interpretation of what I offer.