I am fascinated by interfaces: Art/Science; Nature/Machine; Pattern/Randomness; Abstraction/Representation; Old/New; Painting/Photography. I have always been intrigued by the contrast between the living world and the dead stillness of a photograph.
I am reluctant to alter the world by the photographic act; I am mostly trying to preserve something we are rapidly losing. In recent years the very definition of photography as an art has been turned on its head, as digital imagery brings to the fore troubling questions of what a photograph is when it may never exist as a physical print.
I feel a strong connection to using glass and geometry to allow the light of the world to somehow make marks on paper, and as such I am drawn to techniques that somehow leave their direct imprint on the photographic image. I often use the throw-away stuff of old photographic processes - the discarded peel-away part of Polaroid, a cyanotype negative on paper - left-behind pieces that contain dim photographic images that could never have formed a print before the advent of digital scanning and printing. Although I use digital techniques to bring into view images that otherwise would go unseen, my prints only contain information that was there on the original touched-by-light negative.
Just as I am finding new ways to use old processes and techniques, those very materials are disappearing one by one. I feel as though I am racing against time, using rediscovered but dying processes to photograph a world that also is quickly vanishing, turning into something that I sometimes fail to recognize.
My formal credentials are in physics and astronomy, and not in art or photography. But I do have a fair amount of experience with art photography as well. Apart from teaching photography for the University of Wisconsin Colleges, I have exhibited photographs in many juried competitions in Wisconsin, Ohio, New York, Missouri and Colorado, even occasionally winning an award or two (well, two actually). I have had several solo exhibitions, as well as joint exhibitions with the artists Judith Waller, Diana Ludwig, Dawn Patel and the photographer Teresa (Saska) Patrick.
My particular area of expertise is alternative-process photography, especially regarding the combination of antiquarian photographic processes with modern digital scanning and printing. Probably the most significant example of this is my own sort-of invention of what I call cyanonegative photography. I have taught the process to many students over the years, and even a few other photographers, some of whom have won prizes with their own efforts. I am also a fan (and small-time collector) of old cameras. How many old cameras do I have? Well, it depends on how one counts (working, non-working, barely-working, duplicates, etc). But I need yet another camera like I need a hole in the head