I am fascinated by the way the presence of light can suggest a complex and mysterious interior realm by merely touching the surfaces of people and things. The photographic still seems to stop time or slow time down, like holding one’s breath. My subjects are the familiar, the domestic: myself, my friends, my family at home, in rooms, in cars. These are private lives, private places. The intention of this work is to create photographic portraits that resemble paintings, capturing private moments from a life and intimate scenes of family, home, domestic settings.

From a series of digital photo-collage pieces entitled BOOK OF NO LEDGE. In my dialogue with this encyclopedia (circa 1947), I attempt to marry a bit of poetry with the know-it-all simplifier of the universe, voice. Besides altering the text, I often add other graphic bits and refine to my own purposes all that had been in the vast before.

For the past two years, my writing and research has been examining representations of space and place. A few months ago, I wrote that “places are made by returning”. This photographic place was made by returning many times to the same space – in the rain, in bright sun, at different hours of the day. The result is a representation of a single space that converges with a simultaneity of many times. The one thing holding all these photos together is the one thing not seen in any of them – the central point; the origin.

This is the second collection in my series Holding On, Letting Go. While the first collection emanated from my archive of black and white negatives and photographs, I’ve now turned to art historical paintings as inspiration. In Mother and Child, I’m at once artist; photographer; curator; designer; and (re)interpreter of art history, myth, and iconography. My interest is in exploring this primary archetypal relationship through the ages, by focusing on indelible, formative moments as created by painters. Moments of Holding On and Letting Go.