Literally and figuratively our vision - or lack of it - is a very individual matter. So many variables influence our ability to see. Variables like how tall you are or how esotropic (cross-eyed!), how curious or how preoccupied. What is interesting to me is how everyone prioritizes information differently, taking in what’s needed or available to form an impression. Some folks read the broad strokes, some the details. My artisitic process has a lot to do with the way I see , the way I perceive.

Scan, edit, squint. Squint, scan, edit... ad infinitum.

As a kid I did these eye exercises in the dark with props: a prism, a wooden spoon, and a pinhole of light. The object was to corral the multiple points of light into the same spot. A similar exercise involved aligning the cat’s head with its body and tail. When everything lines up perfectly and clearly belongs where it is, you know it. I like that certainty. Now my props are a camera, a software toolbox and a monitor, and I continue to explore the infinite potential of layers and denstities, color, texture, and space relations. I am still aligning the cat’s head with its body and tail.

A new movement has emerged in this body of work. My reliance on original photographs as source material has helped me to move away from mostly abstract imagery and motifs toward those that are more referential, and even narrative at times. Also, the work is more concerned with the natural world and its rhythms than my earlier work has been. I take a lot of pictures. Picture taking has always been a way for me to orient myself - like the North Star. The photographs I take and those I choose to merge share correspon-dances that are sometimes based on shape or color or texture, sometimes on personal associations. My aim is to include you, the viewer, in this loop and hope that you may discover affinities with the sights and spaces described here. Thanks for looking.