This is a series of long exposures while traveling in different parts of the world, capturing both movement in time and space and substance.

The fortuitous element of randomness removes the photographer’s socio-cultural projections into the image, while the resulting negation of identifiable references removes the viewer’s projections and asks for an emotional rather than rational response.

This series reveals the memories and feelings that are allowed to come through with use of abstraction to remove the physicality of place.

“Like a great starving beast
My body is quivering
Fixed
On the scent
Of
Light”
    Hafiz

Prints are archival pigment on Baryta Fine Art paper in limited edition of 10 at 20" x 20", 5 at 40" x 40", 2 at 60" x 60"

This series evolved from driving alone for thousands of miles in the American Southwest over the last few years. Here I noticed how the scarcity of the natural element makes human interventions particularly evident. 

I explore our relationship with the perceived natural environment: ‘nature’ is not the ideal postcard void of human presence, but more realistically the ‘outdoor’ views we experience when moving from one place to another. This new modern landscape cannot be separated from human constructs. Epitomized by ‘the road’; freeways, overpasses, vehicles, ads, poles, and signs are what we truly experience. We look at them every day and yet we choose not to see them. We experience them without acknowledging them. And in so doing, we perpetuate our disconnect: nature as something external, to exploit, and at our service. We work against nature instead of within it.

“Consciousness is a special kind of cognitive process that emerges when cognition reaches a certain level of complexity”
F. Capra.

Prints are limited edition of 1 at 30" x 20" archival print direct transfer to aluminum substrate + 10 at 30" x 20" on Ultra Premium Luster Fine-Art paper

I have always been fascinated by the forms and symmetries of the natural world and have been exploring them with my work. I therefore started seeking compositions and representations in the human body as I explore our relationship with it.
 
Dabbling in the medium of painting, I discovered the compositional theories of the painter Gordon Onslow Ford on dot-line-circle as primary structural elements. I now seek those in the body. 

I use black and white sepia tones to shift the perspective from the sensual to the abstract. 

I also use strong contrast, with little graduations of gray, to raise questions on how the  body relates to the self. Questioning the dualistic theory of body and mind as separate and the cultural paradigms associated with either, I explore the intrinsic relationship in the form of the Buddhist namarupa. 
 
I hope I can give you a new view of the human form and of the male-female dichotomy.

Prints are archival pigment, in limited edition of:

10 at 22” x 22” (image 16”x 16”, Baryta FB 350 gsm paper)

5 at 36" x 36" (image 34”x 34”, PhotoRag bright white 310 gsm paper)

My mother grew up in Berlin during WWII. Part Jewish, she experienced persecution, rape, death of family and friends, fear. One of her escapes, as for many of her generation, was heavy cigarette smoking. Eventually this caught up with her: she died after a long battle with lung cancer in the fall of 2007.

This series symbolizes the psychological process of going through grief. I use the simplicity of symbols and the immediacy of moods. The sequence of images were chosen to represent the change from dark to light, from closed to open, as I accept my mother’s transformation from physical to spirit.

There is an image in my mind of a magical distant world, mysterious and beautiful. A place far away from what I am used to, both in space and time. I had never seen it, just a mental creation after innumerable books and movies and stories. Until last morning, when I woke up to realize that it was here, all around me, real.

(Quote from my travel diary during my year living in India).

'Thus in symbols everything called to me: "It is time!" But I did not hear: until at last my abyss stirred and my thought bit me.'
'It is not the height, it is the abyss that is terrible! The abyss where the glance plunges downward and the hand grasps upward. There the hearth grows giddy through its two-fold will.'

        'Thus Spoke Zarathustra', F. Nietzsche