I often stumble on locations while looking at source materials for paintings. Although by practice I am a painter, after considerable time at various places and looking at photos, sometimes I realized the literal images captured many of my pictorial and conceptual interests better in photo form than painting form.
I gravitate towards spaces that are in transition and seem to have obvious painterly attributes such as light, compositional structure, texture, and even a history of visual incident that mirrors the layers of mark making that might take place on a canvas. Within this there is a vast meeting point of opposites: materials and their demise, intentions and accidents, human activity and natural process, productivity and stagnation. The balance of these opposites, which was in part created by nature over a long period of time, results in the quiet, and pure splendor.
The large scale of the photos are meant to heighten the sense of space and timelessness through detail and the simultaneous perception of vacancy. The scale also allows the work to take on characteristics of abstraction making objects and environments defy their literal significance based on the viewer’s perceptions of beauty, time, and meaning.
In taking these photos my main interest was not necessarily to communicate my own specific emotional response to the subjects, but to consider the attributes that made the various locations so rich with the possibility of having an esthetic experience.