Four of my images are on display in the lobby of Google’s office in Kendall Square, Cambridge, Massachusetts, until April 30th, 2019. These prints, measuring 4 feet by four feet, are printed on non-traditional photo media (canvas and metallic paper). Many thanks to the Cambridge Arts Council for working with Boston Properties to make the display a possibility.
This collection of work lies at the intersection of "what is" and "what if." The art fuse photographs of natural and human-made elements into surreal and imaginary worlds, presented in print and multimedia formats. Each piece confronts viewers with mystery, suspense, and surprise as they navigate between predictable and unpredictable elements in worlds familiar and worlds reimagined.
My composite photograph, "Trapped in a Melting World," was accepted into Viewpoints, a juried exhibit sponsored by Cambridge Art Association in collaboration with Cambridge College. The exhibit theme was based on the question: How do individuals and society respond to change? Can art both record and react to the vast changes in our world. If so, how can these viewpoints stimulate real change? "Trapped in a Melting World" consists of photographs taken at Iceland's Jökulsárlón lagoon and the performing arts building, Harpa, in Reykjavik. Jökulsárlón is considered to be ground zero for climate change; as the temperature rises, Breiðamerkurjökull, the glacier at the outlet of the lagoon, recedes into the ocean. Eventually, the lagoon will merge with the open sea. The people in the photograph are walking a ramp in the remarkable MC Escher-like Harpa building. My composite art piece closes the physical gap (379 km) between the lagoon and everyday life in the city. With the sharp cropping of the ramp and no discernable starting or end point, the message is clear; there is no place to go and we are sadly trapped in a melting world. (Artwork specifications: 24" x 24," printed on metal)
"Disconnected" was accepted into Cambridge Art Association's [Ital] Art, Grief, and Land, which will be on display at University Place in Cambridge, Massachusetts (January 8 - February 2, 2019). The exhibit is about the estrangement of modern culture from nature. In “Disconnected,” blended images of Death Valley and the intersection of Fifth Avenue and 34th Street depict the disenchanted world that humans have sacrificed so much to create. As with all my composite artwork, I began with location shots and then use digital tools to produce a single seamless image. Here, the natural beauty of California’s Zabriskie Point pushes into Manhattan, like an earth-bound cloud, carrying with it a patch of sunlight. A ray of hope hovers in the corner, rolling towards ghost-like pedestrians who glide through an artificial environment made of steel, glass, and concrete. (Artwork specifications: 24" x 24," printed on metal)
Gallery Twist in Lexington, Massachusetts, is a unique art venue owned by John and Gillian Ross. The Ross's have turned part of their beautiful home into a gallery, with paintings, found objects, and scultpure on display amidst their elegant furnishings. Two of my composite photographs, "Rush Hour Reflection #2" and "Matter & Energy" were selected for the gallery's "Illumination" show (December 1 - 31, 2018 - January 1, 2019). In addition, the show includes my multimedia piece, Microworlds #1, created with motion designer Luis Socorrow. (Artwork specifications: Rush Hour Reflections #2, 30" x 30," printed on metal, Matter & Energy, 24" x 24," printed on metal)
This exhibit is organized around the presence, or lack thereof, of water. At one extreme, the exhibit presents images of the desiccated landscape of Death Valley. At the other, the images present water in abundance, from the coastal regions and glacial lagoons of Iceland to the micro worlds created by raindrops collecting on spider webs and vine seeds.
This exhibit of my work is dedicated to scale as viewed through a photographer’s lens. My interpretation begins with a monumental scale that defies the imagination — a scene from the Grand Canyon — and descends to smaller mountains in Iceland. From there, a vast stretch of sky segues to a walkway in an M.C. Escher-like building. My photos continue with human scale as the guide, with a focus on people at work and people en route. Drilling down to ground level, human scale gives way to artifacts found on the street and in nature. The series concludes with an image representing the smallest scale I can see through my camera’s viewfinder — a single drop of water delicately balanced on a seed in the aftermath of a gentle rain shower.