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My current work explores both the representational and non-representational possibilities of digital photography's ability to see more deeply than the human eye. For my Descent to the Graphic project I am I shooting digital photographs intended as foundations for subsequent images, which expand that deeper vision through considerations of at least two of the core elements of the frame: light, color,texture, and form. Because the final work will eliminate context anyway, the composition of these foundation images are unlike any intended for full  or near full frame presentation. Throughout the digital darkroom process these images retain their photographic nature as work of lights and they treat the textural footprints of pixel-based production as essential elements of composition. My basic digital darkroom workflow consists of the same practices used in conventional film photography, primarily: cropping, burning and dodging, and color and contrast adjustment, but with levels of control and precision not available in the film darkroom, all applied in a process that creates a descent from the specific and actual to the graphic.

These works ask the viewer to reconsider the subject-viewer-frame relationship by drawing a deeper, obscured form from the familiar and are often founded in works of art or architecture or industrial design. So Museum Renovation looks across the Museum Quartier plaza in Vienna at Halle F & G and builds its form from the architecture and space of the setting. Bruxelles / Brussel  is the reflection off a small portion of Signe de Lumière, a sculpture by Jacques Moeschal that sits at the heart of the Port de Namur. Nude Descending the Heavens and Natural History were each interactions with sculptures within museums, and Blue Moon, (below) grew from a dialog between a painting and a sculpture, also in a museum gallery.

Blue Moon (2016)