In the darkroom I paint with light. There is no camera; rarely are there negatives. Over the past seven years I have been making images on the threshold between photography and painting. Many viewers question whether the finished work may even be called photographic. Originally, the plan for this body of work was to explore light defined by line, space, form, and color; but recently the project has evolved beyond that. Surprisingly, the images have taken on emotional characteristics that seem difficult for many viewers to articulate. People tend to be drawn to the images, but they are not sure why. Therefore, as I continue to explore new technical possibilities I am now consciously directing the emotional impact of the color in my work. The work begins as a 3"x 3" unique chromogenic photographic print produced in the darkroom. They can be made only once, and are the originals for larger prints (c-prints) made by doing high resolution scans, which are eventually printed at 12" x 12" and 30" x 30".
Even more recently I have taken the photographs written about above and layered them both front and back with clear acrylic and epoxy in order to give the photographs more depth. On top of the photographic image is a layer of epoxy that encases tiny objects. These objects reference the light altering process I use to make the original photograph, but also serve as a distraction from true procedure. Often the object could have been used and sometimes even looks like a 2-dimensional part of the image, but is just a hint that may or may not be important in figuring out exactly how light was transformed while making the piece.
A very recent interest of mine is film. Presently I'm working on very short films that reflect some of the same aesthetic values. I have no idea where this will take me, but it will guide my first year of MFA studies.