incidents & interesections

INCIDENTS & INTERSECTIONS (1987-) FORMAL STATEMENT: I explore those points in my visual life where the natural and the artificial meet. The conflicts, tension and ironies thus generated appear to be analogous for corresponding meeting places in our inner lives. Some viewers have remarked on the presence in my work of conflict between thought and feeling, conscious and subconscious, [reality] and [dream]. There are inner boundaries that are implied by the exploration of visual boundaries in my images. Theses images are not [formalistic] in the sense that formal relationships constitute the essence of the works’ meanings; rather, their main thrust is the use of formal visual relationships to stimulate awareness of relationships within ourselves. 

Often I do not understand the point of many of my images until long after I have made them. Part of being an artist is being a sensitive viewer; much of the fun of the process comes from being stimulated by my own work.

photographer's pencil

PHOTOGRAPHER'S PENCIL (drawings;1997-2000) This group covers drawings made between 1997 and 2000. These drawings were begun about half way through the making of the photographs in particle pool. 

One might refer to these drawings as personages. I made them from emotional necessity with the spirit of automatism in heart and hand. As with the paintings they were also made in an attempt to loosen and further inform my photographic language. 

These drawings were made very quickly in sessions lasting 2 to 3 hours in length sometimes longer or until I felt satiated. The sessions produced many drawings per outing, some pieces more successful than others. I drew a lot when I was young and then in college, both eras producing heavily labored efforts leaving only technique. For sure I was now being called by a medium I had mostly an adolescent relationship with. I was finally free as a mature artist and image-maker to reacquaint my self with graphite. 

I believe my thoughts in approaching this work were that speed can deliver emotional impact and polish can remove it. Over the years I had found that photography (a quick medium) had the ability to harness my subconscious thought in images I was seemly drawn to make. I recognized if my strengths as an image-maker were aligned with a medium like photography that I would play to them and trust my instincts. 

Finally I wanted to throw all the rules from drawing class out the window, I didn't mind the endless graphite refuse getting on the piece and along the way decided to use it (in fact court it) to slur and blur lines as a slow camera shutter might. Or as a blues player would bend and slur notes on guitar strings to accent more feeling in a solo. I wanted this work to have a raw power, so even the application of smuge-blurs were applied with quick aggressive jabs. 

I believe as people we do not hold a single visual image in our minds when we think of each other, but a composite of rapid thought-images culminating in a kind-of thought-feeling if I may. 

By the time this project seemed like it was done with me I had easily 1500 drawings to choose from, I'm still doing so. Like photography many sketches and attempts are executed and only a few images out of those efforts truly have a life of their own. 

see paintings bottom of page

Field Notes-2 (2012)

Field Notes - will be a place I post new photos I am considering, studying & so forth. These are not presently images you will find on my website. If you missed them here are Field Notes-1.

One of the things going on in most images below is a concentration on using the patterns, shapes, positions, repetitions of arms and hands. While I am posting this stuff I thought it might be of help to others if I tell you what I am after.

(So info in these will be intended for teaching, - hopefully some people will find the information of value) 

Please drop me a comment and let me know if this helps anyone.  I do not know everything about photography, but am happy to pass on things I have learned.

(I enjoy the sense of mystery I get from the man in the black suit, it to me is as if he dropped in from another place maybe an agent. Why is he here in a tranquil setting?  I have enjoyed the hand full of times a person has shown up in a photo they seem to not belong too.)

Liked this one initially, but I am about to reject it. This "mind changing" "post post letdown" will be part of  the "Field Notes"  personality.

I find it interesting when the compositions utilize multiple triangles in the structure, certainly not a conscious thing on my part, these events happen much to quickly for that.



(Sometimes the Gods do help us. "Neptunium" Bicycle?)

 (Another person who seems dropped into the photo for me (it must be his stillness next to the movement of the others that increases this sensation I get). I enjoy studying the stride of people in my images. It is crucial to me from one frame to the next which one has the tension or spring in the movement.)

(I enjoy the diagonal line implied by the boys arm but more so the subtle reinforcement of that diagonal by his turned gaze. I often hope and try to tie together like colors running from front, middle and rear ground together.) 

(Here I enjoy the triangle created between the foreground women's arm and body and the one created by her head and arm forcing a triangle to appear top left.  If it was not for the triangle created by the man (RT) by his elbow and arm the image would fail for me.  It is nice luck, serendipity or synchronicity (chose your poison) that his bag is red and there are red shapes in the mid ground by the column. As an image maker I ask myself what would happen as I begin to remove  these things from the photograph. The man white tee shirt (RT) on beach and his forward lean and movement also help to pull the eye to the (RT) side of the image, especially important because the image is loaded heavily left. White also pulls the eye strongly to itself.  The other thing that works here is the blue shirt (LT) side and the blue stripped shorts (RT) side.)