My obsession with the behavior of light and shadow led me to experiment with different methods of mark-making, with varied constructs and light sources to insinuate space, form and feeling. Eventually I found myself in the color darkroom using the photogram as a point of departure until I began working large scale unique camera-less images, which because of their intense luminous character I renamed luminography. These had an immediacy that was lacking in other formats. My intention was to break down the distance between the artist and the audience through the work.
Precision of intent is essential in a work of art. To work clearly I developed a precise methodology for the pitch-black darkroom, measuring color saturation, density of light, and ambient conditions which all influence the resulting luminograph. Only by controlling all the variables and reducing the element of chance is it possible to create in the dark.
The imagery in my work in luminography is present in all my endeavors: paint, graphic arts, installation—any medium is simply a tool with which to articulate the narratives we build to understand a life, a world, and the meaning of emotion throughout time and space.
Memory is a continuous process of rewriting what has been lived; one chooses what one remembers. By choosing to forget, to destroy, to rebuild and reimagine, I consider my image-making an exploration which simultaneously obscures and reveals what is real, what is imaginary, and what is hoped for.