In my photographs, structures, various objects and raw materials that I find in the environment become the stuff of sculpture or drawing. The sources of my imagery have been found most anywhere- from nuclear test sites of the U.S. Government to vacant lots. Influenced by contemporary artists working in the minimalist canon, as well as abstract photographs of artists like Callahan, Siskind and Metzker. I see my subject matter as found sculpture and drawing. I am looking at materials with the formalist concerns of a sculptor, but rather than making a construction to place in a gallery, I use photography to evince drawing or sculpture. Unlike the photographers mentioned whose black and white works tended to have a strong graphic presence, my color photographs also exploit the illusion of space found in abstract painting.
The reductive nature of my most recent-images has been evolving over several decades. But, perhaps most consistent in my work is my use of expressive nature of photography rather than its potential of accurate rendition. My earliest photographs used mixed light sources and atmospheric weather to make uncanny and theatrical images of the urban landscape. Later, when I used powerful stadium lighting in the field, it was in a manner similar to using light in the studio, thus emphasizing particular qualities that could only be done with a controllable artificial light source.
Over the years, the subject matter in my work has been consistent: Landscape featuring human activities and artifacts. Instead of limiting myself to the depiction of intrinsically interesting objects, my most effective work derives interest from parts of our world that most would pass by without notice. By employing my sensitivities to light, atmosphere and the the dynamic qualities of the photographic medium, I explore the potential of photography to change our perceptions of what our eyes see.
Over the years, I have consistently photographed the landscape, examining human activities and artifacts found therein. Instead of photographing beautiful or dramatic scenery, my photographs are made of places such as vacant lots, landfills and construction sites that most would pass by without notice. By employing my sensitivities to light, atmosphere and the the dynamic qualities of the photographic medium, I make photographs to change our perception of the landscape.
Working with color negative film, my earliest photographs used street lights to make uncanny and theatrical images of New York City. Later, I brought powerful stadium lighting to suburban areas to photograph objects in the landscape. By using a controllable artificial light source, I could emphasize particular qualities of the subject. These photographs were characterized by the surreal hue of their skies. For the last 10 years, I have photographed under overcast skies making my characteristic "White Images." In these works, the resulting white skies are used to isolate objects from the landscape in which they were found. Seen in shadowless illumination, the formal and material qualities of the subject are vividly expressed.
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