My work features landscapes and architectural structures that are hidden, overlooked and on the periphery. These are solitary, strange spaces capable of surprising the viewer and subverting expectations of what they should be. They are physical entities of dissonance: between order and disorder, beauty and neglect, wealth and poverty, decay and renewal, past and present. While empty of people, they bear marks of human presence. Traces of graffiti, unexpected reflections, cobwebs, retrofitted alterations, and unusual debris reveal layered histories in which experiences pile, accordion-like, onto a single place. In my photographs of these spaces, I seek to create images that articulate the past and future simultaneously, for as the material world is being replaced by a digital one, such ruins are what remain.
These photographs have been made using an 8 x 10 inch large format view camera and a method that incorporates traditional film and digital techniques. The attributes of the view camera encourage a deliberate approach to each composition. The camera permits the lens to move independently allowing complex adjustments to the picture’s perspective and focus in order to create images that are as visually complex and disorienting as the sites themselves. The lengthy process involves use of a tripod, a gridded ground glass, bellows adjustments, manual focus and settings, and high-resolution color sheet film. The resulting negatives are drum-scanned, digitally color corrected, and printed in large format to maximize the resolution and subtlety of the film. The images are not otherwise digitally manipulated or changed.