Location: United States
I am a photographer and educator. My work has been exhibited in galleries and museums nationally and resides in numerous corporate and permanent public art collections, including those of the Alameda County Art Commission, Berkeley Civic Arts Center, the San Francisco Arts Commission, the Brower Center, and the Kala Institute (Berkeley, CA). My work is represented by the San Francisco Museum of Modern Art Artists Gallery, Slate Gallery, Danielle Wohl Fine Art, and the Kala Institute Art Gallery.
Recently retired from teaching photography at California State University East Bay, I currently teach graduate and undergraduate courses in Fine Art Photography at the Academy of Art University in San Francisco. I am a graduate of the School of Visual Arts in New York City (BFA) and the City University of New York, Brooklyn College (MFA).
For the past six years I have focused on creating large scale commissioned artworks for public spaces with my collaborative partner, Peter Tonningsen. Through our partnership, Counterpoint Studio, we have created numerous works for university campuses, hospitals, public transit and recreational facilities as well as private architectural projects.
The Swim series looks at the vernacular choreography generated when people perform the mundane act of swimming. Each person’s body responds in a unique way to the freedom of movement they find when lifted and supported by the water. This unrehearsed choreography fascinates me. When composing the pieces digitally, I look for patterns of movement and rhythms that speak about how the subjects, who become “dancers,” relate to each other in the overall choreography of the scene. I construct specific patterns of dancers across the space allowing each one’s body language to dictate how they will lead to, compliment, contrast, and punctuate the movements of the other.
The works are constructed using the grid as a point of departure. Within the confines of the grid’s rigidity I look for the organic rhythms of the water and “dancers” to emerge. I enjoy working within this contradictory space where the unyielding structure of the grid attempts to contain the fluidity of the water and the bodies.
The Swim series looks at the vernacular choreography generated when people perform the mundane act of swimming. Each person’s body responds in a unique way to the freedom of movement they find when lifted and supported by the water. This unrehearsed choreography fascinates me. When composing the pieces digitally, I look for patterns of movement and rhythms that speak about how the subjects, who become “dancers,” relate to each other in the overall choreography of the scene. I construct specific patterns of dancers across the space allowing each one’s body language to dictate how they will lead to, compliment, contrast, and punctuate the movements of the other.
The Swim series looks at the vernacular choreography generated when people perform the mundane act of swimming. Each person’s body responds in a unique way to the freedom of movement they find when lifted and supported by the water. This unrehearsed choreography fascinates me. When composing the pieces digitally, I look for patterns of movement and rhythms that speak about how the subjects, who become “dancers,” relate to each other in the overall choreography of the scene. I construct specific patterns of dancers across the space allowing each one’s body language to dictate how they will lead to, compliment, contrast, and punctuate the movements of the other.
The works are constructed using the grid as a point of departure. Within the confines of the grid’s rigidity I look for the organic rhythms of the water and “dancers” to emerge. I enjoy working within this contradictory space where the unyielding structure of the grid attempts to contain the fluidity of the water and the bodies.
The Swim series looks at the vernacular choreography generated when people perform the mundane act of swimming. Each person’s body responds in a unique way to the freedom of movement they find when lifted and supported by the water. This unrehearsed choreography fascinates me. When composing the pieces digitally, I look for patterns of movement and rhythms that speak about how the subjects, who become “dancers,” relate to each other in the overall choreography of the scene. I construct specific patterns of dancers across the space allowing each one’s body language to dictate how they will lead to, compliment, contrast, and punctuate the movements of the other.
The works are constructed using the grid as a point of departure. Within the confines of the grid’s rigidity I look for the organic rhythms of the water and “dancers” to emerge. I enjoy working within this contradictory space where the unyielding structure of the grid attempts to contain the fluidity of the water and the bodies.
The Swim series looks at the vernacular choreography generated when people perform the mundane act of swimming. Each person’s body responds in a unique way to the freedom of movement they find when lifted and supported by the water. This unrehearsed choreography fascinates me. When composing the pieces digitally, I look for patterns of movement and rhythms that speak about how the subjects, who become “dancers,” relate to each other in the overall choreography of the scene. I construct specific patterns of dancers across the space allowing each one’s body language to dictate how they will lead to, compliment, contrast, and punctuate the movements of the other.
The works are constructed using the grid as a point of departure. Within the confines of the grid’s rigidity I look for the organic rhythms of the water and “dancers” to emerge. I enjoy working within this contradictory space where the unyielding structure of the grid attempts to contain the fluidity of the water and the bodies.
The Swim series looks at the vernacular choreography generated when people perform the mundane act of swimming. Each person’s body responds in a unique way to the freedom of movement they find when lifted and supported by the water. This unrehearsed choreography fascinates me. When composing the pieces digitally, I look for patterns of movement and rhythms that speak about how the subjects, who become “dancers,” relate to each other in the overall choreography of the scene. I construct specific patterns of dancers across the space allowing each one’s body language to dictate how they will lead to, compliment, contrast, and punctuate the movements of the other.
The works are constructed using the grid as a point of departure. Within the confines of the grid’s rigidity I look for the organic rhythms of the water and “dancers” to emerge. I enjoy working within this contradictory space where the unyielding structure of the grid attempts to contain the fluidity of the water and the bodies.
The Swim series looks at the vernacular choreography generated when people perform the mundane act of swimming. Each person’s body responds in a unique way to the freedom of movement they find when lifted and supported by the water. This unrehearsed choreography fascinates me. When composing the pieces digitally, I look for patterns of movement and rhythms that speak about how the subjects, who become “dancers,” relate to each other in the overall choreography of the scene. I construct specific patterns of dancers across the space allowing each one’s body language to dictate how they will lead to, compliment, contrast, and punctuate the movements of the other.
The works are constructed using the grid as a point of departure. Within the confines of the grid’s rigidity I look for the organic rhythms of the water and “dancers” to emerge. I enjoy working within this contradictory space where the unyielding structure of the grid attempts to contain the fluidity of the water and the bodies.
In this series I am working with the notion of place. My sense of the places I know and the places I discover is constructed from an amalgamation of different sights and experiences over time. The works in this series are complex compositions that describe fragments of information, time, and space. I combine these fragments to formulate my impression of a place because I find that no one image alone can describe the sensation of place for me. I must construct it from multiple parts of my experience.
I have devised a method of drawing with digital photographic information that I use to layer image upon image as I build up the surface of the image. I use a flattened perspective so that multiple views and locations are densely compressed within a complex surface. The picture plane becomes a vibrant, kinetic space where many different views come together in a landscape without perspective.
I am particularly interested in the industrial and urban landscape; power plants, shipyards, shipping ports and vibrant cities are most appealing to me. These places have a unique aesthetic, sense of color and rhythm.
“Swim #3: Song of the Sirens”
“Swim #8: Jacob's Pillow”
“Swim #7: Saltarello”
“Russian River Dance”
“Float”
“The Siren's Lament”
