About Me

My photo
I work abstractly and non-linearly – however, my designs do have trends over time, usually with the goal of delaying recognition so a photograph may better dialogue with its viewer, free of labels. Recent techniques have included seeing without gravity, designing in soft focus, and using shapes to continue the photograph beyond the physical frame. My photographs reflect a more prosaic approach to photographic seeing ~ a fascination with the everyday, a preoccupation with the vernacular, an "ordinary," rather than an "extraordinary" vision. I value finding my ideal of beauty and decorum in nature and the simple life. There may be other, more descriptive or poetic words that may be used to define the “pattern” that connects the images, but the simplest meta-pattern is this: I take snapshots of moments in time and space in which a peace washes over me, and during which I sense a deep interconnectedness between my soul, the moment and the everyday world around me. My current projects are polar opposites, evolving abstract design in both natural and urban environments.

Friday, September 10, 2010

Art of a Paradox: Tate Modern













































































































Art Of a Paradox

Am interested in exploring the connections between art, architecture and photography. In my work on the Tate Modern there are three main themes: utilitarianism/minimalism, paradoxes, and how people interact with the art & the building itself.

The Tate Modern is a paradox; an impressively monumental utilitarian space created to emphasize the art rather than the architecture, even though the architecture dominates and overwhelms us. Within the architecture of the building itself there are dissonances: within thick industrial brick walls we find a soft skin - the galleries, the wood, the more 'warm' spaces' which incubate the art within this rigid structure. My work documents these two very different energies, focusing on the resounding dissonance of the industrial drama, the harshness of cast iron and brick, the difference in quality between the solar and electrical lights, and how the soft diffused natural light mitigates the colossal effect of the building.

I focus on details of contradictions I see within the fabric of the building: how the viewing boxes seem at once enclosed, rigid, but also to be floating in the space. I also look quite closely at the natural light coming in through the wide light panels, which were not part of the original Turbine Hall design, and which call your attention to yet another irony, between its history as a power station and its current incarnation as an environmentally friendly building. Finally, in focusing on how people interact with the public spaces and with art, I document a certain desolation in the space; the Hall is largely silent, and silence lets you be alone with your thoughts to contemplate.  Its also the generation room that is the main hall, I feel maybe used today as a generation of ideas as opposed to electricity, the turbines of the mind.

I am fascinated by the sharp lines, light and shadow, evident in the building, and which remind me of Mondrian, of Kandinsky. In much of London's architecture I see a conversation and tension between hope and pessimism.


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