Artist Statement (circa 2012, latest is here)
My photographs reconstruct sites where anticipation has accumulated as an artifact of future experience and discovery of place. They are records of a substitution of anticipation for experience.

The constructed photographs use my drawings as both starting point and object in the image, combined with found objects. These miniature staged landscapes are built within the context of natural and man made structures of overwhelming proportion, and scientific explanations of natural phenomena. My photographs reduce the colossal and long-enduring structures to fragile and transitory symbols and offer only glimpses.

I’m using the analog photography process because anticipation is inherent in this silver nitrate process. The latent image that exists on the unprocessed film, and the wait in the darkroom for the image to appear are natural extensions into process of the theme of anticipation in my work. The monochrome palette furthers the idea of a glimpse into possibility by reduction to shapes and symbols and simultaneously connecting to a history of truthful document.

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My artwork is comprised of photographs, maquettes, drawings, and installation pieces. My portfolio is arranged by bodies of work.

The photographs are about documenting remembered places, experiences, events through reconstruction, and witness to natural phenomena in its interaction with man-made environment. Making the photographs (and photograms) involves assembling drawings, partially completed maquettes, found objects, and paper ephemera from magazines, textbooks, encyclopedias, and reference books.

The maquettes, built for the photographs, then completed as artworks, are most often architectural. Some are also combined with installation projects.

The installations came about as a way to bring the process out of my studio. This work combines the idea that my built or constructed imagery is only completed by the act of photographing it and the notion of saudade, a sort of inexplicable nostalgia for something that hasn’t happened or been experienced. “Dazzle Cities” is about train travel – exchanging man-made colossal for the natural sublime, and the intersection of the two. “Coney Island” and “Stone Arch, Exposed” are about layers of memory, anticipation, and vicarious experience through historical excavation. “Perfect City” and “Far City” are about a pure and plangent longing. Each of these pieces were site-specific.