Photoexpressionism...  seeking the thought and feeling true to a subjective vision, rather than the visual documentation of an objective exactitude.

I seek visions of sublime beauty... that transpierce the mind, forge an aperture, grow, and nurture the spirit. 

The images are compositions.  They are not necessarily history.  Not to be limited by what one might think of as photography...   Creativity should not be restricted. The camera is a machine, a tooI, part of a process.  I strive for unrestricted artistic freedom in this expression, including freedom from the actualities and limitations of the camera.  This contributes to a style which lies within the dualism between the rhetoric of the artist to capture the spirit or subjective interpretation of emotions, and the realism of physically recording light.  I am seeking the emotional thought and feeling true to a subjective vision rather than attempting the visual documentation of an objective exactitude.

My intent is heavily influenced by photography’s intrinsic ties to realism and my desire to eliminate accidents.  There is less emphasis on extreme intensities and more on the sublime.  My vision is a self-expressive effort to interpret the subject aesthetically.  I try to convey the emotions of many stories rather than one.

The word photoexpressionism emerges as an appellation to describe this.  Not referring to the softness of pictorialism, as championed by Alfred Stieglitz, but to following a different expressionist path.   How the objective and subjective intertwine (such as the genre of photorealism painting) is also an influence. 

If I were asked to describe my intent in terms of common theories of art I would say that it is more in the spirit of the expressionist tradition rather than the realist tradition.  The photographer John Sarkowski poetically phrased this contrast “Mirrors and Windows.”  Examples of this in photography are the painterly style of Clarence White and the straight aesthetic of Paul Strand.

As a child I developed a strong interest in photography, along with drawing and oil painting.  In college I studied biochemistry and later worked as a research scientist... Some positions were a division head at Memorial Slone-Kettering Cancer Center in NYC; VP at a health related tech startup; consultant in clinical research for big pharma working in France, Germany, and the US.    After this experience I focused on fine art photography which had as its muse a trip, of unplanned duration and with no particular destination in mind, that spanned quite a few years. This was a turning point to pursue my love for photography.

In experimenting with new techniques in printmaking I chose all archival materials using pigmented ink on 100% cotton (mould made true rag paper) using a matte coating that does not visibly alter the beauty of the paper.  This paper is internally buffered and made using a non-chlorine process without optical brightening agents.  OBA’s fade over time and do not even work if the artwork is properly framed with UV blocking glassing.  OBA’s work by absorbing invisible UV light and fluorescing in the visible spectrum.

My scientist side seeks accuracy, reproducibility, and longevity.  This, with other technical and creative concerns, along with a respect for the environment contributed to a move from film to digital.  Technical advantages include greater image quality such as higher resolution, wider gamut, and finer tonal detail.  Creative concerns include wider range and greater control of image processing. Many individual process have their place in photography, as long as quality is developed to a high standard.  Diversity contributes to the creative richness and growth of this relatively new art form, dogma constricts it.

Artist Statement