Imagery has always, for me, been central to communicating. Heightened, possibly even seeded, while
I vainly tried to convince my intractable first grade teacher the front door of my home was really, really, really, blue!
Somehow the obvious truth of my still damp, watercolor ran out of gas miles from her world. An empty truth unable to even
hitch a ride on my protesting voice.
Building images upon visions, whether by word, by picture, or by sound, onto moving film/video,
or presented quietly as a printed page or a photograph, carried my fueled "truth" down many roads.
As a film editor I have sequenced, bent, and even created, images from visions; as a cinematographer
and videographer I have, guided by vision, corralled images; and
as a producer, I have branded and sold images; all the while, all the time, as a photographer collecting images from the cracks
between visions.
Historically,
much to the dismay of many around me, my work - and life, actually - is more of a “crime of passion” than “premeditated
murder”. Consequently, photography for me
is an outwardly-appearing, random process of translating personal instants of "quiet-depth" onto a visual
image. For those who share this experience of "quietness", of my images often create a momentary void quickly filled by
viewers’ own experiences and perceptions.
In that light,
my work is much less about “my images” and more about creating personal, “triggers” for others.
This contemplative, body of work is a consideration of the moments
between visions:
where
objects are allowed to tell their own stories;
where
images are both observed and listened to;
where
the formality of a visual-haiku form opens a door (blue?) to the infinite.
