For as long as I can recall I've had an ever-growing interest in and appreciation for the power and majesty of the still image. I'd like to claim that I have an all-encompassing visual and aesthetic philosophy that underlies my approach. But, point in fact, I don't think I do. I simply shoot what interests me. Moreover, I can't even say that I really choose my subject matter. I think it chooses me.
For that reason I would consider my subject matter eclectic. Generally, I'm drawn to the form and style of architecture and its often revealing relationship to and placement within the natural world. I like scenes and situations that reveal humor and irony, often brought about by the juxtaposition of various elements that don't necessarily go or fit together at first glance.
(A View from Tower Bridge- London, England 2017)
In this exhibition, however, I have concentrated on images that I found to be interestingly framed or presented from within a restricted or defined perspective. Namely, a "framed" perspective. In a strict sense, rendering any visual through a lens restricts one's perspective by the nature (and specifically, the focal length) of that lens just as our own eyes are restricted to the view of what's in front of us and what is suggested on the edges of our periphery.
But what I'm talking about here is the distortion of glass, the reflection in a bottle, the framing of scene through a doorway or window, or the channeling of one's gaze down a tunnel or alley way. How sometimes the natural terrain or topography of the scene itself serves to direct and focus our attention at a specific spot or place in the scene. In other words, how a portal defines the view.