The photographs in this exhibition are part of In Limine, the second series in my larger Moving Landscapes body of work. This series is a physical exploration of the tones, colors and hues of the coastal shoreline of the Eastern US (featuring locations in Maine, Virginia, North Carolina and Florida. It is also a further exploration of using the camera to document a place differently, less representationally, than I do in my actual documentary work. Again, as was the case in my first series, the technique removes the specific location identifiers, and allows the viewer to absorb or feel as much as see the presented landscape. The term In Limine means ‘on the threshold’ and these images are just that. They are on threshold of time (day or night) and place (the edge of the continent/country/land/sea). They are also on threshold of what we think we know as a photograph. As such these images are a literal interpretation of the latin phrase Motion in Limine. Additionally, I am interested in decommodifying the digital image and returning a sense of materiality to the world of digital photography. I want the end work to be unique even if the image can be technically perfectly reproduced. To that end, I have reimagined the mounting and framing of these photography, borrowing ideas usually employed by painters. In the past I have worked with paper and metal so this time chose wood. I designed and individually fabricated the panels and frames and mounted images I printed, thus ensuring and embracing the hand hewn, one of a kind quality of each piece.

Images included in July, 2022 Norfolk CT Library Solo Exhibition Technically speaking these are photographs of place, but technique eliminates the distraction of recognition and the inclination to say “Oh, I know where that is” and focus on the feeling…the mood… the atmosphere. Each image is a study or a meditation on a particular location but the specific location is not the focus; the colors, tones, hues, and depths of each image, and whatever thoughts or memories the image elicits in the viewer are… The names of the works are taken from “An Sanasán Uisce | The Water Glossary”, an incredible work of language and art and scholarship by Carol Anne Connolly. How I came to know The Water Glossary and why I have employed it's contents here is in itself an amazing story but too long for this space, so ask me about it. From her introduction… “over time and through myriad languages and dialects, an astonishing lexis for landscape has developed and, in turn, formed our identity and understanding of the nature of being.”

As bipedal, terrestrial dwellers we are by nature taking in the world in a very horizontal way. These images from my Suspended Perspectives series are in investigation of the world around us from a different perspective.

Spomenik:Memory It was Proust who so succinctly, elegantly even, outlined essentially three types of memory: The subjective. Memory that is intentionally or willfully recalled. The collective. Memories one "subjectively" remembers but did not necessarily experience. The involuntary. Memory that is provoked or maybe invoked by something. The images in this show represent but a handful of the monuments in the former Yugoslavia. And the hundred or so remaining are but a fraction of the thousands created in the era following WWII. Spomenik is the word for "monument" in the languages) of Yugoslavia. The root of the word, "spomen," means "memory." The first and probably most important thing to understand about the spomenici (plural of spomenik) is that like most everything in this region, they hold different meanings for different people. To some they are the legacy of a bygone era, or the markers of past suffering. They are the physical manifestation of hope in the future of a generation, or objects of defiance. They are proof of triumph or symbols of resentment. For as many monuments as exist there differing ideas, feelings, reasons as to their existence. What is incontrovertible is that they are a series of memorials built from the 1960s-1980s during Tito's Republic of Yugoslavia. Their primary intent was to honor the victims of the fighting in 1941-1945, what was called in the region the National Liberation War. What we refer to as World War II. Unlike typical war memorials and monuments these were erected to honor the victims, not the victors - that is the generals and other war heroes. With an eye to the 3 lens of memory I explore the uniquely Yugoslav space these monuments occupy through the built environment. Further, it is an investigation and documentation of the manifestations of an ideology that no longer exists.