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
+38° 9' 37.82", -119° 11' 19.80"
+35° 4' 36.07", -107° 33' 38.77"
North Acomita Village, NM
+30° 57' 24.10", -103° 27' 26.36"
+30° 53' 28.96", -102° 10' 41.24"
Fort Stockton, TX
+35° 2' 5.23", -106° 56' 20.27"
+32° 25' 31.09", -106° 33' 52.77"
White Sands, NM
+35° 19' 1.45", -112° 51' 1.33"
+35° 7' 37.07", -107° 50' 2.17"
+35° 4' 21.17", -107° 45' 0.46"
+35° 3' 45.83", -109° 47' 2.34"
+31° 26' 18.91", -97° 27' 33.89"
Mc Gregor, TX
+32° 41' 24.58", -100° 51' 28.05"
+29° 52' 22", -95° 33' 14"
+37° 53' 17", -122° 18' 36"
+29° 30' 47", -95° 28' 19"
+28° 57' 55.47", -95° 16' 13.96"
Surfside Beach, TX
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 22" x 22", 5 at 44" x 44", 2 at 60" x 60"
+37° 9' 25.00", -121° 58' 54.91"
Santa Cruz Highway, CA, USA
+37° 1' 29.01", -122° 1' 36.98"
Santa Cruz Highway, CA, USA
+37° 21' 39.22", -122° 3' 46.72"
Mountain View, CA, USA
+37° 47' 8.71", -122° 23' 24.81"
Delancey Street, San Francisco, CA, USA
+5° 59' 46.11", +80° 17' 9.69"
Galle, Sri Lanka
+37° 46' 6.94", -122° 12' 51.85"
Oakland, CA, USA
+37° 25' 40.54", -122° 6' 4.43"
Palo Alto, CA, USA
+37° 48' 27.81", -122° 18' 17.58"
880 Freeway, Oakland, CA, USA
+37° 47' 13.21", -122° 24' 45.60"
Geary Street, San Francisco, CA, USA
+31° 37' 36.27", -7° 59' 20.98"
Rue Fehl Chidmi, Marrakesh, Morocco
+31° 37' 35.30", -7° 59' 14.41"
Rue des Banques, Marrakesh, Morocco
+45° 1' 28.27", +7° 42' 57.21"
Collaborations: Finestra Anima (2013)
How do we define identity? Personality? Attraction? We classify people we meet on a small set of fairly universal parameters: age, gender, ethnicity, religious affiliation, origin, etc. Yet true connections come from a deeper almost subliminal level, often obscured by value judgements based on the above mentioned parameters.
This installation inverted the process of discovery of 'strangers' by removing all external references and indicators and only showing larger than life close-up images of eyes of a wide diversity of people.
Each group of eyes is multi-faceted and backlit, confronting participants with multiple giant staring eyes in every direction, day and night.
Art installation at 2013 Burning Man: 4 pieces, 16 pairs of eyes,retro-lit, solar powered, with individual notepads for participants comments and reactions.
Can you see yourself in me? Yes. I see myself in your eyes. I see the innocence that is on the verge of being lost. I see the questions, moving. ... Or having my future be one in which it took every ounce of energy and self preservation I could muster to break free from the hurt of religion, child rape and to grow as my own person, no longer shattered, but whole.
What do you believe in? I believe in making it a little better than I found it.
What do we share in common? A hundred thousand words are flowers in the sky. A single mind and body, moonlight on the water. Once the cunning ends and information stops, at that moment there is no place for thought.
Where do you think I come from? We are all the universe experiencing itself. We are within the universe. The universe is within us.
Do I match your expectations? It is hard to have expectations for people. Better to have goals for the type of people you want to be surrounded by. Then you manifest your own destiny.
Would knowing my job change your impression of me? I wanted to be a mortician when I was 15 years old & had a death & dying class in highschool. My brother killed himself a few months after the class & was embalmed on the table I saw on the tour of the funeral home. I am now a psychologist instead. And I bow to your dear heart! Thank you for your work and light in the world.
What do you see in my eyes? Love of a mother who is afraid to have failed.
Why did you choose me? I was looking for someone with an interesting question.
Am I a stranger, or am I a friend? A friend who has had his ups and downs. A friend with very intriguing eyes. A friend none-the-less.
Do I matter to you? En tus ojos estan mis alas, está la orilla donde me ahogo.
Would we be friends? I see your fury, I see your frustration, I see your vision, I see camaraderie, I see blood, I see tears.
Do I look fearful, or do I inspire fear? Neither. You look like you are looking for something that is too close to see.
Do you search for yourself in others? Yes. And I search (and find) all of them in me. That way I release the negative feelings by seeing that anything I react to in them is also in me. Since my right forearm is a part of me and I never get upset with it, then when I realize you are in me as a different perspective, I can’t get upset with you.
Does age really matter? Age only matters if the time and years have not been enjoyed, dreams have not been sought, adventures have not been had, connections not made, and knowledge not sought.
What do you see in me? I see vulnerability, I see change, I see resolution, I see separation, I see truth, I see unraveling what it means to be human.
What do you feel I am thinking? The sudden realization that you don’t even know you... And that no one will ever know everything you thought and felt and did and said. And that even if you could remember, and write it all down, you don’t have the time. And no one would care anyway.
Can you see yourself in me?
Phoenix Lewis (2, male, white, no religion, from USA)
What do you believe in?
Mindy Rodman (56, female, artist, caucasian, no religion, from USA)
What do we share in common?
Robert Adler (male, 66, photographer, caucasian, jewish, from USA)
Where do you think I come from?
Smudge (22, female, massage therapist, latin american, 'ecclectisisisist', from USA)
Do I match your expectations?
Molly Deloria (female, 23, student, white, atheist, from USA)
Would knowing my job change your impression of me?
Mikaela Meredith (female, 26, mortician, agnostic, from USA)
What do you see in my eyes?
Ruby Tuesday (female, 30, server - nursing student - educator, white, agnostic/spiritual, from USA)
Why did you choose me?
Seonok Lee (female, 46, scientist, asian, agnostic, from South Korea)
Am I a stranger, or am I a friend?
Brady Forrest (male, 39, techie, caucasian, atheist, from USA)
Do I matter to you?
Joe Mayo (male, 37, engineer, caucasian, jewishj, from USA)
Would we be friends?
Jean-Francois Gauthier (male, 44, executive gigolo, french canadian, anti-religion, from Canada)
Do I look fearful, or do I inspire fear?
J Michael Tucker (male, 45, photographer, white guy, spiritual beyond, from USA)
Do you search for yourself in others?
Christina Robinson (female, 51, dating relationship advisor, brazilian mutt, catholic, from Brazil)
Does age really matter?
Paul White (male, 59, artist, caucasian, no religion, from USA)
What do you see in me?
Holly Greenberg (female, 42, psychotherapist, american mutt, listening, from USA)
What do you feel I'm thinking?
Ouja (male, 51, engineer, caucasian, quaker, from USA)
Installation close to the (burning) man
Installation from a distance
Installation at night
Installation at night
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 on Baryta FB paper, in limited edition of 10 at 22" x 22" and 5 at 44" x 44"
Collaborations: 3 Eyes (2009)
Three eyes is a collaborative group of artists, who combine their own artistic mediums into a modality that has its own synergistic presence.
Nicolo Sertorio uses his photographic eye revealing the emotional beauty of abstracted natural landscapes.
Elaine Toland uses her painter's eye creating an orchestration of abstracted paint to re-interpret the feelings and memories evoked by Nicolo's image.
Seonok Lee uses her poetic eye, creating a poem, using Korean calligraphy, inspired by the combined image.
The collaborative creative process by these three artists results in an image that matures into its own life force.
Pieces are one-off stretched canvas mixed media 60" wide by 30" high.
Translation of poem:
Dream Submerged in smoke Like flames Spewing fiery blood red and blue blossoms. It is nothing but my passion, A shadow of my own dreams.
Illusion In the agony of suffocating flames A sudden throb of my heart It is nothing but my own illusion With ever deeper passion I want to live I want to lead A fiery life.
Translation of poem:
In the midst of blue waters Suddenly, threads of red glimmer Provoke nostalgia In one’s heart.
Translation of (partial) poem:
My love for you Ever enduring The sunset before the storm White clouds floating in blue In the midst of a fiery red sky ...
Translation of poem:
Ah, the day is waning, in the western sky, over the lonely river, the even pinkish glow is fading…ah, when the sun sets, when the sun sets, night will return without fail. I weep alone beneath an apricot tree, but today is the eighth of April, and the sound of a crowd flooding the boulevard betokens festivities to come, so why am I the only one unable to stifle the tears welling up in my heart?
Ah, it’s dancing, it’s dancing, the blood red flame, it’s dancing. Peering down from the hushed castle gate, the odor of water, the odor of sand, when the torch, biting the night, biting the sky, as if still hungering, bites and tears at its own flesh, a solitary youth weighted with a darkened heart hurls his blue dream of yesterday into the river, yet will the heartless waves suspend its shadow in the flow?
Translation of poem:
If I catch the carpet of cloud the sheet of blood red cloud the mountain of pitch-black cloud in the dark I will fly far away across the vast sky