I am drawn to the idea of abstraction, where meaning is not absolute but suggestive. Throughout my career I have worked in many different media: drawing, printmaking, painting, photography and sculpture to name a few. My photographic works, at the core, are “equivalents” of reality. That is to say, I create scenes or objects to be photographed, rather than illustrate existential situations. The process is an internal one inspired by personal experiences and imagination.
My latest body of work combines processes I have used in the past, expressing the visual vocabulary I have already learned in new contexts. I begin by building plexiglass boxes, filling some of them with resin and others with wax. I then make drawings, which I print on transparent film and build up in layers on top of each box. I repeat this process until I am satisfied with the result and, then, I photograph it.
Initially, I wanted to print very large-format photographs on watercolor paper. However, the high cost of printing such large pieces was prohibitive. A fellow photographer, and friend, offered the use of his own printer, but it was smaller than what I had had in mind. Seeing that I could not make prints larger than twenty-four inches wide, I decided to divide my large images into sections, to make smaller prints and mount them on separate panels to be either attached or simply displayed together.
Once I began this process, I realized I could use actual objects on my panels instead of photographs. In following the evolution of my own process, I was inspired to create this more complex and multi-dimensional work. Though the ideas behind it are just as accessible, they now require the viewer to piece together their various elements in order to draw their own meaningful conclusions.