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An artist friend once offered the gentle critique: ‘There’s too much to read.’ I’m not sure I took his advice to heart. The work in these pages depends upon the relationship between word and object, and upon the unpredictable interactions of their fractures. Because of training, passion, and mood, philosophical and historical themes tend to dominate these tableaux. The “Emerson’s Fate” assemblage series explores Transcendentalism through the lens of urban dislocation, while my unreadable codices (“Terra Incognita” and “Vitrea Fracta”) use broken glass photograms to interrogate censorship, concealment, and forgetting. Other pieces play on the boundaries of myth and fiction ("Orgone Projector," “Imaginary Boxes,” “Time Travel”), or explore the tensions between aesthetic theory and practice (“The Mathematical Sublime,” “Passing Through”). All the work is analog, most of it monochrome, much of it cyanotype or silver gelatin. I’ve tried to capture the force of the world, tear it away, and leave a skeletal architecture with suggestions of sense. What remains is common ground, or, at the very least, a shared anchorage in illusion. 

Image: "The Mathematical Sublime" (2024)