Photo collages - artist statement

As a commercial portrait and event photographer for over 40 years, I worked with such notables as Aaron Copland (composer), Harlan Cleveland (Former secretary of state under Jimmy Carter), the late Tito Puente as well as rock musicians, scientists and authors.

In 1995 while staying in a small village in Bali Indonesia I discovered an immediate, less mind oriented, more visceral response to experience that felt very appropriate. After photographing hundreds of images the photo collage started to develop. In 1996 I presented much of the new work in “Transformations: Images of Power from Bali” in a gallery setting. The whole show was a collage of visual impressions.

In August of 1998 the photo collages, in their present form, began as an exploration of an abandoned World War II fort guarding Newport harbor. One photo didn’t sum up the experience very well. This lonely place with no visitors, except graffiti artists, needed a larger visual context. It occurred to me that many photographs, combined, would give a greater impact of place. “Tagging the Fort” was the first of many photo collages that reflect a particular place at a particular time, using a 16 image format.

Structurally the grid provides stability to the otherwise chaotic forms that demand organization. Creating a structure that integrates the grid and the imagery is my primary concern. Often the grid needs to be reduced in size to create a field of color and accommodate the insistent nature of natural forms. In other pieces the subject matter demands fewer elements or spaces between each photograph element.

The hand built image is still an essential part of the process of developing the finished piece. The creative advantages of digital technology are also apparent giving greater flexibility and choice. So choices are made with the intention of getting the most compelling “look”.