|Dates: ||1952 - |
I approach photography as picture making rather than picture taking. I am interested, both visually and conceptually, in chaos theory, fractal geometry, and symmetry and asymmetry as found not only in art, but nature, science, mathematics, and architecture. Order and randomness both play key roles in the creation of my work, which has affinities to Abstract Expressionism, Surrealism, and Minimalism.
One question frequently asked about my work is How was this picture made? More recently, this has been joined by the question What is this a picture of? With these two questions my art not only confronts photography-as-process but also challenges the prescribed expectation that photographs depict reality.
Abstraction in photography is a virtual contradiction in terms. It is at the particular intersection where a photograph is devoid of any recognizable image that I wish to concentrate my artistic, intellectual and aesthetic energies. Minimalism remains distinctly underdeveloped in photography, but is well established in contemporary painting and sculpture. My photographs share specific affinities with the art of Dan Flavin, Ellsworth Kelly, Agnes Martin, Sol LeWitt, and Donald Judd. The work of all these artists has a sublime presence and a timeless eloquence that not only challenges ideas about what is and what is not art, but also carries with it spiritual and perceptual overtones that are existentially self-defining. In my own work, this same combination of qualities can be seen in a palette linked with the stained-glass window of my Catholic upbringing that serves as the basis for a rigorous investigation of light, that primary agent responsible for all photography.
My pictures are reminiscent of distant galaxies and nebulae taken with a large telescope or the interior microphotographs of tissue, optical nerves and cells. I have created rich fields of marks that are clearly abstract, mysterious and full of ambiguities while paradoxically introducing the gestalt of forms and metaphors.
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