The space between our inner and outer realities—our imagined and observed environment—abounds with energy that is spiritually regenerative and transformative. Visual metaphors—whether playful or disturbing—refine our understanding of ourselves.
In the early ’70s I adopted a photographic technique called “light-painting.” This aesthetically selective focusing technique enables me to orchestrate that interconnectedness between fantasy and reality and to pull from the shadows of the unconscious mythical and archetypal symbols.
Combining these qualities with 3D stereoscopic photography creates images that further defy eye/mind limitations. These images—viewed in their intended three-dimensional format—assume a kinetic quality. Within this context I can represent energies as either harmonious or discordant with their surroundings.Stereo light-painting has enabled me to “see” a world that does not exist in our perceptual time and space. This felt environment evolves slowly, layer upon layer, in a deliberate, yet serendipitous manner. Moving to push the fertile moment beyond expected limits, I began exploring abstractions such as “femininity,” “male-ness,” or visual representations of the “dance of life,” “rebirth,” or “territoriality.”
The Sacred Places Series of photographs that evolved from the earlier work comprises various genre of sacred places—architectural, rock art and natural sites—that are increasingly endangered by looting, vandalism, clear-cutting, chaining, strip mining, acid rain and other environmental or manmade hazards.
Uncontrived documentary photographic records are historically useful for their immediacy in creating accessible baselines, providing a concise forum for critical observation relative to a site’s state of preservation and for formulating constructs from objective data. I am drawn to an interpretive approach to photographing sacred places, one that reflects the intangible, an aesthetic response from the contemporary perspective.
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