My work is quite simply, how I communicate. It is the tangible expression of my ideas,my concerns, my curiosities and discoveries. To be creative is by nature, to be inclusive and consider possibilities outside of personal perspective. Whether art is a reflection or motivator of culture,its position in our lives speaks to the priorities in our hearts. If there is a common thread to my work; an underlying reason for it to be, it is to connect with others and to learn from the experience. These are the principles I explore each day in my work. These are the values I seek to impress upon my students.
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How does my work mean
Influenced by Maya Deren, Bill Viola and the Quay brothers, my digital films incorporating performance, dance, and movement are intended to syncopate loosely outlined narratives with a fluid time-based montage.
The film Doxa Gune; a peice about the inescapable truth of life is essentially a parable presented as visual prose. In the broadest sense it is poetic fiction and while my background in analog photography grounds the visuals and informs the aesthetics it is life experiences that inspire content.
At my best, I work in a state of unconcerned immersion disturbed by no ulterior motive, free of bias ,even my own. This mindfulness, where I am most open to improvisation and discovery is one of the most elusive yet desirable states for me. The results are often films that are free from linear narrative concentrating instead on movement, character of light, visual metaphor and the relationship between sound and image. This is common in most of my work where it is my aim to communicate curiosities and to underscore the beauty of impermanence.
In fact, digital video itself and more specifically projected video contributes to the ideas embedded in the imagery. A projection of light is formally unique in that it has no baseline. Instead, the characteristics of the work are determined by the space it is presented. Scale, color, and the viewers’ proximity are all particular to and can change based on the environment or display materials. The ephemeral quality of projected video, having an elusive physical form, is the ideal medium for the content of my work and is one of the things that draws me to it again and again.
on Photographic Processes
If I am not learning something about materials and techniques while making my work, then I am doing something wrong. Film, chemicals, digital equipment, software; I am open to explore whatever seems appropriate to the ideas of a project. However, it is important that my work reads as natural and unassuming in terms of technique.
Much of the same consideration goes into using software to direct images as in making silver prints in the darkroom. Balance, tone, and clarity are the measure to which the images reveal themselves regardless of technique. Whether I am manipulating silver salts or pixels on a screen, I work toward creating visual rhythm until the images are distilled, reduced to the absolute necessity and become unified.
My early experiences with the medium, have allowed me to take advantage of methods like tintypes, platinum printing, and cyanotypes while also involving technology like HD video, high-resolution scanning, and alternative ink printing. Having the benefit of learning the medium from a “bilingual” perspective, I naturally recognize historical and contemporary techniques as compatible. However, It is important to note that the formal aspects of the image are meant to lead the viewer to the ideas and concepts I mean to communicate.
In my most compelling works, subject, form and content are one in the same. In the end, I consider my art to be profoundly meaningless in that the photograph is the idea.