New Work 2018
According to the ancient Greeks, geometry and mathematics were the keys to unlocking the secrets of the universe. While I’m surely not a mathematician, I do have an ongoing interest in how numbers, pattern, quantification and geometry are used to describe the world. This has led to a lot of reading on quantum physics and multi-dimensional wonderings that have found their way into my image making.
The spatial relationships generated by the natural landscape have long served as inspiration to classical artists working in a variety of disciplines. Landscape is familiar, accessible, understandable to most, and has a long history in art making. Photographers have turned to landscape not only in contemplation of the spiritual and sublime, but as a means of exploring the complexity of our relationship with nature and our place in the cosmos.
On the surface, these images may call attention to visual aspects of land and experience of place, but the superimposed geometric constructions and mathematical diagrams invite viewers to consider the invisible or conceptual aspects of space. Is there more to reality than what is observable, measurable, or optically possible?
A photograph is a two-dimensional representation of light reflected from three-dimensional space. No other medium renders perceptible reality more accurately than photography, and that forms the basis of my attraction to it. But there are some obvious limitations when representing only what can emit or absorb light. These images integrate the idea of the inferred veracity inherent in a photograph with conceptual possibility. Landscape photography may serve as the starting point for my images, but the magic of digital manipulation enables me to explore dimensional space, time, perception and illusion.
The spatial relationships generated by the natural landscape have long served as inspiration to classical artists working in a variety of disciplines. Landscape is familiar, accessible, understandable to most, and has a long history in art making. Photographers have turned to landscape not only in contemplation of the spiritual and sublime, but as a means of exploring the complexity of our relationship with nature and our place in the cosmos.
On the surface, these images may call attention to visual aspects of land and experience of place, but the superimposed geometric constructions and mathematical diagrams invite viewers to consider the invisible or conceptual aspects of space. Is there more to reality than what is observable, measurable, or optically possible?
A photograph is a two-dimensional representation of light reflected from three-dimensional space. No other medium renders perceptible reality more accurately than photography, and that forms the basis of my attraction to it. But there are some obvious limitations when representing only what can emit or absorb light. These images integrate the idea of the inferred veracity inherent in a photograph with conceptual possibility. Landscape photography may serve as the starting point for my images, but the magic of digital manipulation enables me to explore dimensional space, time, perception and illusion.