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In the 1980s I became very interested in the work of several of the “New Color” photographers, in particular Stephen Shore and William Eggleston who developed more sophisticated compositional strategies and heralded the acceptance of straight color photography as fine art. At the same time, I pursued an extensive study of 20th century painting, and have been particularly influenced by the abstract expressionists such as Pollock and de Kooning as well as Photorealist painters, particularly the work of Richard Estes.

Starting in the late ‘80s, I developed a large body of work photographing at recreational sites throughout America - amusement parks, state fairs, Las Vegas. With this work, which was widely exhibited throughout the Northeast U.S., I attempted to reveal the artificial, surreal character of these environments while using an underlying geometric structure to create visually complex images. As the work progressed over the years I orchestrated an increasing number of elements to the point where he literally crammed the picture with information.

In the mid ‘90s I began photographing the debris from man-made structures destroyed by natural disasters, fires, and demolitions as well as materials gathered at salvage yards and recycling centers. While the demolition and disaster scenes speak of loss and devastation and the scrap heaps comment on our consumer society, these images invite a variety of interpretations.

More recently I have expanded my exploration of visual complexity photographing nature.

I am interested in using cliché subject matter (scrap metal, landscapes) as a springboard to move to the next level in my exploration of visual complexity in straight color photography. The overall form is becoming less structured as I continue to be drawn to the hidden compositional possibilities of haphazard scenes and chance occurrences.

For me, exploring that magical space that exists where order and chaos merge allows new levels of meaning to emerge from the most unsightly landscapes. At the heart of all of these photographs is my attempt to recognize an unexpected elegance at sites generally thought to be aesthetically barren, to serve up a visual feast, to hear the music buried beneath the noise

Wonderland Pier

1994
75x100 cm

Golden Galleon

1993
50x60 cm

Vortex

1990
100 x 125 cm

Metal Banding

2001
100 x 125 cm

Engine Blocks

1998
120 x 150 cm

Lwn Mower

2003
100 x 125 cm

Seaweed

2005
100 x 125 cm

Rebar

2005
Type C Color Photograph (Fuji Crystal)
100 x 125 cm