Artist Statement

My approach to photographic art-making is a synthesis of the many aesthetic styles

and practices I have studied from my teenage years to now. In the beginning,

captivated by the altered reality of extended time exposure and color, I seized upon

the use of long exposures for soft and dreamlike prints that I then hand-tinted. I

celebrated motion as an energy field of rippling wavelengths. My interest in mixing

media and layering the photographic surface next led to combining shadow figures

in the darkroom, adding text, applying collage and image transfer. Rather than

create a single photographic statement, I started to shape multiple photographs into

larger sized works. For example, in Initiation, photos of contemporary women

expand borders as diptych and triptych and meld into  female images from ancient

Dionysian Mystery cults.  Likewise, in Homeboy, a documentary sponsored by a

neighborhood theatre company, I displayed a hundred and fifty black and white

slides using a dissolve unit and two projectors joined by a performance of a scared-

straight poem, “Letter in Lady Day Spring Tones,” delivered by Brooklyn ex-

convicts. In Hope, I printed out the fourteen dictionary definitions of the word and

clustered portrait and landscape photographs around each. Finally, in­ my most

recent project, Walking Underwater, I return to my earliest phase of photo-making.

Using varied time exposures and color film, I once again document the female

figure. However, now her form is submerged in clear blue swimming pools with

unpredictable results.