These pictures document a world of visual drama and not quite random circumstance. These fleeting moments are documented with the hopes of reminding us what an enjoyable experience the act of seeing can be. These pictures*, although often somewhat abstract, are accessible to anyone willing to look; if they were toys the instructions would read, "no assembly required".

The specificity of photography as a medium binds well with the more abstract imagery to which I am drawn, providing different points of access by which to enter. In one picture there are layers of patterns cast on a proverbial canvas, but at second glance its not just an abstract layering effect; it is actually a discarded mattress with a house fly as protagonist poised dead center. Often, two or more elements dovetail adding an element of surprise.

These pictures exercise an acute awareness of form, both in the use of color and composition, which could be precarious were it not for the quirky nature of the subject matter. This quirkiness adds an element of humor that balances out the aesthetic nature of these surprisingly intimate moments. In one picture you have the side of a truck (flat as can be) except reflected onto it is a shadow forming a Golden Section**, then just when we're close to identifying what were looking at (or where we are), we see an image of a man, entering from the left, wearing protective gear, spraying the shadows themselves. What? At this point anything is possible. In this world the form informs, the form makes the story.

I want to convey the sense that something else is at work here, like some strange event is playing out before our very eyes and I want to catch it while it is happening. This is most apparent in the Chronograph series where time is being referenced, using shadows, light and geometry. Like a sundial or an eclipse of sorts, but instead of the moon, I find a cracked wall or a closed gate. Somewhat absurd, but this is what keeps it playful and personal for me.

I don't want the images to become loaded down with narratives, as seen in the more idiosyncratic subjects. In one picture, pieces of sheetrock leaning against a wall. The combination of unique subject matter with formal articulation results in these rich, slow-moving images that remind us there is always more to be seen in the world around us.

* I refer to these images as "pictures" because they feel closer to the likes of drawing than photographs.

** The Golden Section or Fibonacci Sequence as it is commonly referred to as, is a geometrical proportion that is derived from nature that has often been used to enhance the meaning and beauty of an architectural or work.

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The process of drawing provides me a certain freedom to explore a variety of visual subjects. The organic drawings are all about creating fresh, new imagery. While some traditional ideologies apply here, such as the process of "automatic drawing" and the idea of tapping the sub-conscious, mostly it is for discovering personal imagery. The synthetic drawings on the other hand, use more defined parameters. While these works are still somewhat spontaneous, the emphasis is on a set concept or idea.

The Hybrids are a result of what happens when I combine these separate worlds. Placing different imagery into the same space or mixing them together I often create a fresh, unique drawing. Sometimes the images seem to go together smoothly, other times they feel almost wedged together—taught with tension, both are intriguing to me.

Drawing as an intimate place, where I allow myself the freedom to try anything I can imagine. Drawing as a place where it's okay to make "mistakes" or decisions that are not linear, nor necessarily logical. Drawing as a place where I am free to fuse ideas and forms that inform and nourish other bodies of work in the process.

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Plastic Color Systems

This body of work employs a variety of techniques and materials to create paintings of invented structures that engage with the confines of the rectangle. The feeling of tension and pressure is an objective in these pieces. Most of these works were painted on the floor; there is something refreshing about working from this position. Veils of paint strokes leave a trail of past thoughts while also giving a sense of time. Color becomes a major element here creating an optical luminance that is made even more apparent when countered with unique and specific color combinations. Acid greens, blood purples, muted yellows all interact with the structure of the canvas in a way that make the process of painting feel sensuous and fun.

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 So as it turns out,
I am not Japanese nor,
am I Samurai

...although I was a Samurai for Halloween once - best damn costume my moms ever made for me - even in spite of the eye-liner. These drawings are inspired by Haikus, twisting the idea of poetry into that of visual language. This is a sampling of a growing stack of sumi ink drawings.

The ideas of: limited characters; seventeen syllables (5-7-5); first impressions; intuition and limited complexity are all concepts taken from that of the haiku . Technically speaking these may be closer to the "hokkus" family, not quite sure, but one thing I am sure of is that there is nothing quite like drawing with ink. It's a great way to summon up new imagery.

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These pieces combine two elements or two ideas in one work. Combining two seemingly separate elements can result in a third and unique drawing. I have found this to be a relatively successful way to keep the work fresh and open.

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Visual Explanations

This body of work deals with psychological phenomena using both graphic language, as well as organic mark making. This graphic Language, which is usually reserved for the branding and marketing of products; i.e. synthetic clothing, is instead used here to describe patterns and cycles. In one, entitled "Buddha's Belt"; a large form of synthetic fabric is used to map a filtering action while surrounded by ghost images or cosmic debris. While at first this looks like it might be some sort of diagram or map of a planetary system, upon closer look, the imagery refers to more specific objects and personal symbols: an old Victorian style bed, a Greek vase.

Layers are also a common theme, shown in the piece "Peel Away" where a zipper-like action reveals an under-layer of ghost-like forms which resemble feet? shoes? maybe boots?

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Mostly linear, these web-like drawings use pattern & line as points of departure, each mark being directly informed from the previous one. This building-like process, results in what seem to be diagrams of little imaginary sculptures.

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Like sun-dials or calendars, chronographs are instruments used for measuring and registering very minute portions of time, usually with extreme precision. Here I am playing with this idea, using shadow, light and grid oriented backdrops. These photographs are set in a modern urban environment contrasting and accentuating the way ancient cultures dealt with the very same light.

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This category of paintings contains two bodies of work both implying the scientific approach of observation. In one group, I study different types of flora, accentuating pattern, shape and flatness if just to slightly stylize their icon-like quality. Other works focus on the landscape, painted in the "plain air" tradition these works are about light. I have always enjoyed painting these direct responses to nature.

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"Relationals" refers to the psychological space between one's self and the world, or between one's self and another. These "direct" relationships often carry a certain body language or reveal an awkward tension. In "James" 1999, the image captures a more self-reflective moment. These pictures are not staged, all of the scenarios captured here, were of a natural progression.

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I began photographing Shea stadium in January of 2003 as part of a freelance job for a construction company. The job entailed taking progress photographs of the work being done each month. In this case it was each week.

While on that job I took a series of photographs of seemingly flat objects that captured my attention. I was interested in documenting the demolition phase or "unfinished" state of the work. With these images I felt like I was making a record of "found" paintings that would soon be destroyed or changed into something completely different.

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These photographs are primarily based in geometry. I look for grid-based patterns in both synthetic elements as well as in organic forms. Many of these works refer to abstract painting, as do many of my photographic projects. Here I am working with seemingly flat subject matter, transforming it into something greater than the sum of its parts.

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