I photograph man-altered landscapes. I see the world with the eyes of a cartoonist,
sensitive to the humor in the ordinary and the extraordinary in the commonplace.
I look at the world with an eye for telling detail; details that inform beyond appearances.
When Mark Twain writes,"there are two ways of seeing a river"1, he has put aside the
aesthetic vision in lieu of the navigators eye for safe passage of his steamer. I look at the
world with an aesthetic eye and the eye of a navigator, attempting to comprehend in a
photograph, the collision of what is aesthetic and topographic.

In my work, sky and earth are a stage where nature and culture collide. Elements of
wood, steel, cement, bolts, wire, paint, asphalt, gravel, rock, sand, grasses, plants, and
trees coalesce in a form both abstract and concrete. I seek that fortuitous confluence of
elements that form the unique chemistry of an instant that both defines, and is redefined
by the printed image.

Color photography renders the temperature of the moment, further distinguishing that
which is man-made from that which is natural. Man-made color expresses the
temporal nature of life, natural color the intemporal. In my photography I seek a
harmonic mean of temporal and intemporal color. Seeking to achieve accuracy of light
and color renders the subtle place where the fortuitous occurs and the marvelous emerges.

1 “Two Ways Of Seeing A River”, from “Life On The Mississippi” by Mark Twain, 1883