Strange wonderful moments happen when I am working with encaustic wax medium - a portal opens to another world or dimension. The wax and I have bonded into a strong spiritual partnership.

The wood frames are antique wood either from the Santa Monica Pier and historic district. The book pages are from my library. The Images are printed on handmade papers. The twine from a traditional hardware store in Venice, CA. And encaustic wax medium. The elements come together to create another soul.

I document decaying buildings found on secondary roads. Then use photoshop techniques to create a multi-view image of the building, allowing the best of each image to bleed through. In the case of these assemblages, I rip the papers to see the layers underneath instead of blending in the computer for the final piece.

The first piece sold in the portfolio is in the permanent collection of the Irish Museum of Modern Art, Dublin and was on exhibit there during the summer of 2011. A second piece was included International Photography Awards Best of Show, in New York, 2011. One person exhibit of Encaustic Noir @ dnj Gallery, Bergamot Station, Santa Monica, CA in 2012. Works from the Encaustic Series have been included in multi-person exhibits such as: Incognito, Santa Monica Museum of Art, 2011, 2012, 2013 and The Loft at Liz's, for One Shot-The City, Month of Photography, Los Angeles, 2012, a solo exhibit booth at Photo LA 2014.

Pieces from the Encaustic Series have been auctioned in support of organizations such as the George Eastman House, International Museum of Film & Photography, NY, The Portfolio Review, PA, the Lucie Foundation, Los Angeles, Habitat for Humanity, The Center Theatre Group, Los Angeles and the Santa Monica Museum of Art, CA.

With this body of work, I turn my back on the city and aim my camera towards the wilderness of Santa Monica Bay. I depart my studio when I see exceptional light, cross the human traffic and clutter of Ocean Front Walk and move through the sand to the surging surf and migrating birds.

The bay is spectacular from wherever it is viewed, but the experience becomes fuller the closer you get to the water. You hear a surreal quiet when you reach the halfway point in the sand between the tourists and the shoreline. The sound level shifts again as you approach the waterline - waves crashing and birds screaming gradually overwhelm echoes from the city behind you.

The sensual rhythms of undulating water have mesmerized me for the thirty-three years I have lived in Santa Monica. The lush femininity of the bay draws me in, enveloping me with sensual pleasure. My senses are delighted with the visual beauty and full complement of sound. I love feeling the warm sun and cool wind on my face while inhaling the unique aromas of sand and water. The reflection of the sky creates an ever-changing palette of dimension and color. The bay is my muse.

When I was six years old, my grandparents moved to Coney Island and my parents and I walked the boardwalk and ate Nathan's hot dogs there many times each year. Now, the Santa Monica Pier beckons me. I have walked the pier no less than 1000 times since we moved to Ocean Park in 1982. It was derelict then and I have watched it grow from a danger zone to a family-friendly international destination. My two Springer Spaniels are self-appointed Santa Monica ambassadors who draw attention from tourists missing their dogs left at home thousands of miles away.

The pier carries me back to the world of my childhood while informing my life as a professional photographer. I teach nocturnal Noir photography workshops on the pier through Otis College of Art and Design and my photographs are featured in Jim Harris' book honoring the centennial of the Santa Monica Pier published by Angel City Press in 2009. I am considered an official Friend of the Pier.

The Santa Monica Pier continues to inspire me, as seen in many of my newest photographs presented here. There are certain spots on the pier that allow me to look down with my camera and meditate on the swirling waters below. The infinite patterns of foam visually soothe and transfix. The luscious rhythms of the undulating bay stir my senses and rouse my vision to create captivating, often highly eroticized images.

Although my reputation has been that of a black-and-white photographer, my printer, Titano Cruz, and I have allowed captured color to seep through in many of the photographs so as to convey the muted, near-mystical, affecting tones seen in early morning and at dusk. The use of large format is deliberate, seeking to mirror the overwhelming visceral experience of Santa Monica Bay's embrace.