Perceptions Artist's Statement Review
I love to hunt with a camera using perception and intuition in an attempt to see beyond appearances into minute cracks in the hard concrete of reality that reveal little ironies, odd juxtapositions and hidden truths. A favorite hunting ground is the fault zone along the convergence of culture and nature where harmony is attained or sacrificed.

The search for these little revelations is arduous and often the results fail to fully capture the story. There are times when you could use an expression or an action that preceded or followed the most definitive moment you could capture. Consequently, I’ve often found myself wanting to continue beyond the often-less-than definitive moment of the single image to construct further comments, ferret out incongruities and develop new histories in order to better comment on the social and environmental condition.

This desire to extend the captured moment led me to alternative darkroom techniques and slide sandwiching in the sixties, multiple enlarger printing and slide duplication in the early seventies and slide animation stand imaging from the late seventies into the eighties. By the early nineties the digital darkroom of the computer had become a precise and powerful tool to enhance imagery and to seamlessly edit pieces into a whole. It has made imagery paintable, distortable, and so precisely compositable that photographic reality will never be the same.

I believe that this ability to continue to exercise the visual imagination, to expand the narration of the visual story, is the digital world's key gift to photography. From 1/2000 of a second in a camera an image can be given directional changes for years through the computer developing a narrative that arranges, connects and comments by utilizing changed or added objects as well as changed or added actions and reactions. Now a series of moments excised from the flow of time can be arranged for the development of the artist's fiction.

My work bridges the linear perception of the hunt with the more spherical conception of construction. The creation of constructed imagery is run by internal time lines, guided by personal concerns, formed by the imagination, and leads to the creation of photographic landscapes that have not quite existed before.

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