My hunt for the most general definition of fear led me to "The Unknown" - the idea that people fear what they don't know. Further study led me to the conclusion that it isn't "The Unknown" that's fearful, but is instead what our imaginations project onto what we don't know that makes us afraid.
Inspired by sea demons of folklore and the mutant demons of late 15th/early 16th century Dutch painter, Hieronymus Bosch, this series, presently comprised of eight Frankenstein-esque sea creatures made from the parts of actual sea life, is intended to showcase human fear.
Based on the notion that Fear is the irrational product of a run-away imagination, the series attempts to uncloak and conquer the emotion by transforming sea monsters into whimsical, archetypal visual icons that symbolize fear, rather than create it.
Character Design, Fine Arts, Photography
These photographs were made by painting a solution of rubbing alcohol and waterproof ink onto a sheet of acetate. The sheet was then cut into 35mm sections and scanned as slide film.
The nature of the ink/alcohol solution is such that a few sweeps with a saturated brush will morph and shape-shift on their own, with little or no direction/involvement from the artist. The accelerated drying of the wash due to the alcohol content allows for the ink to clot in its own pattern, rendering highly detailed, intricate, organic designs.
The photographs end up being a record of the process by which they were created - a testament to the behavior, beauty, and creative power of the materials themselves without the presence of the artist's hand.
Fine Arts, Graphic Design, Photography
Further Still: A Game of Telephone
This series is designed to mirror arguments that a religion's theological history and chronological history don't always match. Much like the children's game of Telephone, time and opinion have a way of altering meaning. When applied to a religious study or observance, this principle can lead to the alteration, loss, or manipulation of an initial wisdom.
Using titles that allude to a particular time period or attitude, and by using the manner in which works of art throughout history have depicted the Biblical story of the "Forbidden Fruit" (depending on the social and political climate of their day), the photographs (intended to be viewed in sequence) trace public sentiment toward and use of the story by first depicting fruits indigenous to the proposed geographical location of the Garden of Eden. The series slowly decends into absurdity by depicting fruits that would have never appeared in the original version of the story.
Fine Arts, Illustration, Photography
Watching The World
The photographs in this series are double exposures made in-camera during a tour of Italy. Like the photos in my "x2EXP" project, a roll of film would be shot, rewound, and forgotten for about a week before being re-fed through the camera and re-shot without remembering or caring about what was already on the film.
The resulting images are unplanned, unexpected layerings of people, places, and things historically linked, though temporally out-of-place. They have the ability to act as a kind of small, segmented, historiographical map of an important piece of Western culture - an accelerated and perhaps slightly haunting display of change, and a way of looking forwards and backwards at the same time.
Architecture, Fine Arts, Photography
Then & Now
Located in New York City along the Hudson River at 69th Street, the New York Central Railroad Transfer Bridge was used as a docking and loading station for Car Floats - boats designed to ferry rail cars to and from the train yards in Weehawken, New Jersey. The Transfer Bridge was left to decay until only recently, when what remains of the structure was given Historical Landmark Status by the National Register of Historic Places in 2003.
The photographs in this series were shot with film and printed in the darkroom as traditional silver gelatin prints on fiber paper. The prints were then photographed with film on a copy stand and printed yet again. This process of continuous film-to-print reproduction was repeated many times over before the final print was then scanned and printed from the resulting digital file.
Like the subject of the photographs, the images themselves are degraded to such a degree that they may appear antiquated, as if taken long ago, though they are quite contemporary in design and construction. Using urban decay and a photographic process that mimics the way in which such detritus is created, the series attempts to question and call attention to our perceptions of what is old, what is new, what was then, and what is now.
Architecture, Fine Arts, Photojournalism
The photographs in this series are double exposures made on film while in-camera.
A roll of film would be shot, rewound, and forgotten for about a week before being re-fed through the camera and re-shot without remembering or caring about what was already on the film. The resulting images are unplanned, unexpected compositions of people, places, and things.
This project is a personal go-to series that will, most likely, never be finished, and the 15 images posted here represent an amazingly small fraction of the number of images that actually make up the series. The project is one I use to relax my mind while sharpening my eye when going through a period of “artistʼs block,” or if I feel things have simply gotten rusty, or slow. The images are always a surprise, and I often use them as a tool to re-inspire myself and regenerate my creative juices.
Fine Arts, Graphic Design, Photography