Images are alchemical. I’ve designed mine to convey the luminous stillness of the present moment, to reveal depths of meaning the spirit finds. In the transformation of base materials, we can observe ordinary events and objects' multi-faceted dimensions.
Chemistry of the final print combines digital images I’ve photographed with a particular idea in mind, or intend as raw material for a future piece. All the elements are then digitally processed with a variety of programs. Many of these involve layering techniques that allow us to feel as though we were looking through a veil of time and space.
Photographs I exhibit in museums and galleries are the products of archival materials. Everything—including pigmented inks that comprise the images, the cotton rag paper they are printed on, and the mat board used in framing the images—is of this quality. Archival materials dramatically increase the integrity of a photograph over time because of their neutral or slightly alkaline pH. Conservation or museum glass minimizes the amount of UV rays reaching the print. Although archival materials cost significantly more, they are highly valued for preserving the magic of artwork from elemental ravages over the course of time.