Welcome to six new galleries:
Glass Cube Abstracts - Staying at Home
My latest photography series, Glass Cube Abstracts - Staying at Home, resulted from the realization that, while I can no longer go out among them, or even into town, to shoot as I used to, I could stay at home and still look at the world through cubed privacy glass windows installed in a few outside walls of our house in Santa Fe. So, in reflecting the Santa Fe skies and landscapes in surreal photographs that look manipulated but are completely real, I find a way to remain creatively connected to the world that surrounds me.
As a lover of art, I am a frequent visitor to art galleries. But I when I go, I am eager to notice everything about the rooms, not only the art on display. What about reflections, natural and artificial light, walls and floors, partial views? This series is the result of reliance on my “second sight” to shoot the environment of galleries and their works in a way that produces a “new” composition created by my inclusive framing. A change of focus, then, is what makes possible a new work of art out of the original.
Digital manipulation is so common in photography today that it is probably important to note that my images are not created in this way, although some may appear to be. These images are, simply, the naked truth right in front of me. Certainly reflections and the bend of light contribute to the impression of alteration, but it is the coming upon and capturing these rare and unplanned scenes that is the immediate prize.
With one way of looking at them, cars become abstract pieces. The subjects in these images are nearly impossible to identify, yet they all result from light and surfaces that bend and shape the objects reflected by parts of cars.
New Mexico is famous for light, clouds, and architecture. These elements deepen my captivation for colors that announce themselves as shapes and shades on the ground, on walls, and into the open sky. My eye goes to what the scene has become through the painting of light.
Memorial Days (2004-2017)
In 2003 I joined other anti-war protesters on the streets of downtown Los Angeles to add our voices against the U.S. government’s imminent war in Iraq. By chance, in 2004 on Memorial Day, I discovered a Veteran’s for Peace memorial on the sand at Santa Monica beach, overlooked by the pier and its amusement rides. In the years since then I have often been at the beach on Memorial Day, in pain and sorrow, recording the effect of the displays on beachgoers, passers by and families who had come to pay their respects to a fallen family member or friend. It is the children who affected me most, and it is the presence of children with their curiosity, horror, and anger, that gives the clearest picture of the legacy of war.
Although digitally captured, the content of my images is not manipulated. I shoot and present the real world, unposed and unstaged.
Influences include Randy Newman, Mark Twain, René Magritte, Margaret Atwood, David Hockney, William Trevor, Jeanne Gang, Rod Serling, Michael Josephson, Paul Simon, Emily Dickinson, Georgia O’Keeffe; but most importantly, the images that present themselves to me in the world are my influences.