Storytelling is an art form that dates back to the beginning of civilization. My projects attempt to sequentially lead the viewer through a series of images, from a beginning, to a middle, and finally to an ending.
We have all taken pictures and portraits of people for a variety of reasons: for family, or vacation, for work or for play. Many times we glance at the captured image and then file it away in an album or somewhere on social media. We rarely look at it again. But why is that? Are the captured memories too painful? Or is it that they were just recorded memories of a fleeting emotion, or perhaps out of boredom? I try to explore this reaction with my new, ongoing series.
What is it like for a product to state that it is “Made in the USA”? What does this really mean, especially in today’s economy? Is this just a cliche? Considering the state of the manufacturing industry, is it even worth discussing, since so many manufacturing jobs have disappeared to foreign shores? Answering these questions has become the essence of my project.
Visitors to the provence of Andalusia in southern Spain will immediately notice the beautiful Moorish architecture of many of its ancient mosques, palaces, and fortresses. From the time the Moors invaded Spain in 711 until they were finally defeated and expelled by the Catholic monarchs, Ferdinand and Isabella, in 1492, the Moorish influence dominated local architecture. Presented here are my examples of these often dramatic influences.
What is it about forgotten places that some people find irresistible? For me, it is the sense of history one gets while walking through structures shrouded in the mystery and moodiness of how time has reclaimed these abandoned spaces. Three former industrial sites, dating back to the early 1900’s, are featured here: a paper mill, a sweater mill, a radio factory.
My project is simply a celebration of the sense of awe I experienced during visit to the Sydney Opera House. My series starts with the exterior overture and moves recitatively through the interior arias. I have chosen to present an intimate look through the opera-like arrangements of the lines, shapes, and forms as I saw and felt them.
For more than twenty eight years, I have worked a cross-sectioned life in a cube consisting of three sides with six-foot high colorless partitions. The cube looks as if its external facade has been sliced away, exposing its contents and occupant to the whims and demands of the workplace. Here, we get to see the cogs at work in the great corporate machine.