Deep exploration into long exposure, wet cyanotypes.
As I began the series, I was more conservative. The exposures were done with fresh plant material, spritzed with water, on freshly coated wet paper, and were left in the sun for hours - certainly a departure from the traditional cyanotypes I had done, but conservative relative to where I wound up. By the end of the series, I had gotten very experimental with the liquids I used before, during, and after exposure. The images carry with them the sense of delight I feel in my garden, and that I found in the making of the prints themselves.
The last images were set out for exposure in the face of a cold north wind blowing in fury ahead of our first frost of the season. This series is truly my long goodbye to the garden of 2017.
The images are available as original pieces of art, 11x15" in size, or as archival pigment prints, 9x12" image on 11/15" fine art paper, signed and numbered, in an edition of ten.
Garden Dreams Series 2
Homage to summer's end and the advent of fall while pursuing the secrets of lumen printing.
In the choice of papers, processing, and sequencing, my intent has been to depict the transition from the clear, bright light of summer to the golden colors of autumn. From a riot of flower and foliage to the changing of the leaves in the last flash of glory.
In this series, the lumen prints are not fixed, and in some cases they have been deliberately allowed to continue to change lying face up in indirect light after being taken from the frame. I scanned the changing images at different intervals, and then used these scanned artifacts as a negative might be used - dodging, burning, layering, and compositing the scanned images in the digital darkroom to arrive at the final work.
The images are available as archival pigment prints, 8x10" image on 11x15" fine art paper, signed and numbered, in an edition of ten.
Cyanotypes from my first "blue period".
Inspired by some Rothko notecards purchased in a museum gift shop years ago, and begun in the first blush of my love for cyanotype, these images are an exploration of the density and depth of the cyanotype response, using layers of found materials and distressed digital negatives.
All About Color
When I first took up a camera, I was drawn to the sheer delight to be found in color, and in simple somewhat graphical compositions. This style of work was my first love and despite my excursions into other styles, still a source of deep satisfaction.
My camera has been a force in my life for slowing down and looking, really looking at my surroundings. It is a force for mindfulness. Each of these images represents an occasion of being completely in the moment, absorbed by the color, texture, and pattern of the scene before my eyes.
Girl In Green
Through a Screen Gently
Friday Night Lights
Sam and his Log
New Mexico Rest Stop
Honey Grove Door
Landscape of My Heart
I grew up in rural northeast Texas and left as soon as I could with nary a look back. I proceeded to live all over the country and to be at home in a number of large cities. After thirty-five years, life brought me, suddenly & quite unexpectedly, back to the place of my roots. To my surprise, it has been a true homecoming. These images express my sense of place and my heartfelt connection to my native soil. They map the open spaces and nooks and corners of my heart.
By eliminating color, I am reaching for something fundamental, the essence of what each place, each situation means to me deep in my core. The images speak to an emotional response beyond the verbal.
Flag Spring's Barn
Honey Grove Grocery Store
Ivy Home Place
St. Mark's Window
Wolfe City Gin
Me & My Shadow
in 2013 and 2014 I worked on a project that took me to the Czech Republic for several long stretches. Collected here are some of my favorite images of the magical city, Prague, and my sweet home away from home, Brno.
Tree in Mendel's Garden
Place of Peace & Beauty
View of the Cathedral
Old Jewish Cemetery
The title of this series stems from the fact that the first pieces looked like desserts to me. That, and the fact that I did not want to use large, expensive pieces of paper for my initial experiments, so all these images are on 5"x7" paper.
These images are chemigrams, made with a variety of resists, developer, and fixer mixes and choices.