In this new series, I am continuing my exploration of the panoramic format. This time, using vertical elements in a landscape environment. By matching the structures in nearly identical pairs I am presenting them to the viewer as sentries standing watch over the landscape. Because the major characters in this landscape are vertical structures, the horizon line by necessity is pushed down in the photograph. This promotes the sky to a supporting role. As with all my work I hope to draw the viewer in to the image for an exploration of not only the objective but also the symbolic imagery.
Read the May 2012 review on Squarecylinder.com.
Signs of the Times
Outdoor advertising, or billboards as they are more commonly known are everywhere. They constantly bombard us with messages to buy. They are in some ways a reflection of our society and economy. In fact, the outdoor advertising industry's own trade publication is called Signs of the Times.
With this new series of photographs, I am exploring what these signs say about us or to us when they are empty. Is a blank billboard an advertisement for an economic decline? Or is it a minimalist object whose message is only that which viewer brings to it?
The Highway Remembers...
We routinely, in a delicate balancing act of control versus chaos, hurl down the highway in massive metal beasts. This series of photographs starts where chaos overcomes control. Although these photographs are of the epicenter there is little evidence of the initial destructive force. Instead we see evidence of the rippling effects of destruction on the lives left behind. Who (mother, brother, friend...) erected this monument? Did it bring solace or does it constantly inflame the pain? What is the intended effect on the casual driver passing by?
One of the ongoing themes of my work is the bringing to the forefront the seen but not noticed. Not to make a statement, but to spur the viewers to make an investigation of their own.
There is a phenomenon in our society that for the most part goes unnoticed. Down a side-road, to a dead-end in a decaying industrial section of the city is but one of the places you will discover, often hidden, the almost home-less. In our seemly abundant society, the almost home-less find themselves, living in vehicles- often on public streets- often not. Do these voyagers have a destination or is it a perpetual, nomadic journey? Has their vehicle become a substitute for a fixed address or a tool for a pilgrimage? Is there meaning to their movement? Almost Home-Less is my photographic exploration of this phenomenon. My intention is not to provide the viewer with answers, but for the images to serve as catalyst for questions, investigation and awareness.
Limited edition pigment inkjet prints, 14" x 36" and 30" x 78"
The Power Plant
On the edge of the San Francisco Bay sits an abandoned and decaying power plant full of electrical generating equipment that has been stripped of its usefulness and value. This plant has become an environmental canvas and playground for young anonymous artists. These young artists have transformed a scene of decay into a wonderland of color and shape.
With these photographs my attempt is to capture the sense of amazement and wonder I experienced when first stumbling on this scene. Returning many times to the plant to photograph, I am amazed at the continued transformation. The solidity of large iron equipment with its muted rusted industrial colors is contrasted by the temporal nature of graffiti art. With bright colors these artists have no inhibitions in adding to or painting over previous work, often adding comments over another's piece.
This group of photographs were made using a digital camera and assembled into panoramic visions. These digital prints are printed on 100% cotton, acid free, Somerset Enhanced paper.