Jamaica Bay/ Fragile Beauty, 2001-2007
A series begun after the 9/11 attacks, views of a wildlife refuge and surrounding natural areas using the Rolleiflex twin lens camera, model 1954c, made about the same time in which the heart of the area, the Jamaica Bay Wildlife Refuge, was created.
Jamaica Bay/ Markings, 2005-2009
Mysterious sentinels throughout Big Egg Marsh, placed at set intervals by environmental scientists researching loss of the Bay's coastal wetland habitat.
Jamaica Bay/ Ft. Tilden, 2005-2015
On the Rockaway Beach peninsula, an abandoned former military base reverted to nature in many places, and especially after Hurricane Sandy, appropriated by graffiti and installation artists.
Gates Without Gates (Central Park), 2008-2009
Words carved into the outer stone walls of Central Park entrances, officially designated as named gates, but these gates are welcoming and not literal, always open, never closed to any and all who wish to enter. Individual prints of each gate are painted transparencies bathed in a darkly shimmering golden light. Each print is unique.
Forest Hills Gardens, 1998-2010
Images that explore the relationship between formal architecture and the surrounding natural landscape, made with either a Rolleiflex twin lens or a 35mm non-digital camera. The Gardens is a planned community just over one hundred years old in Queens County, New York designed by the Olmstead landscape architecture firm.
IS/ WAS, 2014
Objects in an apartment revealing themselves, as my parents left them, after they were gone, starting with a bird's egg that rolled out from a nest on the terrace floor. A digital slide show with a sound track created from an analog carousel projector.
Water/ Worlds , 2008-12
Shooting directly onto surface waters in different seasons and physical states, reality is inevitably transformed. Inspired by Schubert's lied Am See [D.746, lyrics by Franz von Bruchmann]:
In the swelling of the lake’s waves,
Through the sunshine fall
Stars, oh, so many, many,
Flaming brightly down upon us.
When humankind and the lake are one,
In the soul’s swelling waves,
There will fall from Heaven’s gates
Stars, oh, so many, many.
Library Catalog Cards: A Virtual Compendium [After Borges], 2011-2016
Discarded by libraries in favor of their digital analogs, these catalog cards were housed in long wood drawers, held in place by steel rods and springs and flipped by the reader's hand one at a time. Some cards are handwritten, but many are typewritten, and all range over years, languages and fonts. Catalog cards are, inevitably, metaphorical stand-ins or referents for three dimensional objects such as books and journals. To honor these increasingly devalued objects required a combination of digital and analog methods, beginning with the digital scanning or photographing of the catalog cards, followed by the making of digital prints on clear film from which images were then transferred by hand to watercolor paper. Each print is unique.
Monet's Water Garden, Shadow and Light
In the last decades of his long life, Claude Monet was obsessed with the lush, fecund and charged atmosphere of his beloved water garden at Giverny, created by diverting the water flowing from a tributary of the Seine River. In this series, a deliberately restricted photographic palette offers a contrast to Monet’s water garden paintings, suggesting an alternative reality of luminous shadow and light.