My work is about looking at things with cameras. As such, my primary materials are light, time, the picture plane, and the frame. Everything is terrible and wonderful and our brief being-towards-death is made richer by taking time to look at things. I work toward what I hope to be a compelling and evocative mix of conceptual rigor and aesthetic beauty (sometimes this is called FORMALISM and that’s okay). When I get it right, Robert Adams is on my left and Rinko Kawauchi is on my right and I'm somewhere in the middle.
All photography is about longing - it's baked into the medium. Welcome to Flavortown. (We retain the prerogative to have a little fun.)
I don’t wish to “interrogate” anything. Let the material be the material – this is FREEDOM. (Nevertheless, it can’t help but be an index of the Anthropocene and thus interrogate the poetics of late capitalism ugh I know, sorry not sorry. If I need to express myself in the parlance of the MFA Industrial Complex I can do that just fine, but not here.)
That said, content must be (at minimum) at least as important as subject. Otherwise why visual art? Even better when the content is (becomes) the subject – that’s nice. Viewers will overlay external meanings, generated out of their own subjectivities, regardless. This is DYNAMIC.
It’s alright to cry. And to laugh, and to scream. Let an image be silent. (In restless dreams I walked alone.) The lone and level sands stretch far away.