The use of blur is central to my technique. It takes away the visual detail and sharpness that our eyes tend to crave and thus draws attention as our minds seek out what actually isn’t present in the image. At the same time, blur damps down distracting details, thus allowing what’s truly essential to emerge gently yet powerfully.

I use composite images and collage to provide contrast and complementarity, tension and release, oneness and  separateness, all of which contribute to a coherent whole.

These works present well at large, even architectural, scale; yet they are also remarkably powerful when small. I have learned that when a viewer is close (or the image large), the panels dominate while the background fades almost into non-existence. With distance, the background comes alive, resolving into a landscape with its own meaningful role in the composition. Distance also enhances the interplay between panels. As a result, a large image placed in a small space may lack its full impact; a view may experience it up close but never be able to back off from it sufficiently to appreciate its full range of moods. My feeling is that with a piece that’s 24″ across, it’s best to make sure that viewers can enjoy it up close and also from at least 10 or so feet away. I hope that viewers are inclined to study my works closely and that they also have the opportunity to back off enough to experience each piece’s full impact.

My images are meant to be physical objects, printed rather than presented on a monitor. I like soft matte paper so the works have a dreamy quality almost like silkscreens. However, I’ve found that some demand the greater contrast and intensity of more traditional photographic papers. In addition, I try to avoid anything between viewer and image, so I rarely use glass or acrylic.

Thus far, my subjects have almost exclusively been landscapes. But who knows where this path leads…

Almost any size is possible and, as described above, these works work well at vastly different scales — both small and large. Thus far, I’ve exhibited pieces as small as 7″x10″ and ones as large as 28″x35″ and larger ones are possible; I work with a printer who routinely handles pieces as large as 60″ x 90.”

To give you a sense of cost, here are prices for typical print sizes – unmounted, on acid free fine art paper, with archival inks, sprayed for UV protection:

• 8 x 10:     $100
• 11 x 14:   $200
• 13 x 19:   $300
• 17 x 22:   $450
• 20 x 25:   $600
• 24 x 36: $1000

All prints larger than 11×14 are printed as limited series of five prints of each size. I’m open to discussion of single editions at larger sizes.

Framing costs vary tremendously.  The most economical approach is generally to purchase prints and work with your own framer to mount and frame them.  This also gives you the most control.  That said, my printers do an excellent job mounting (we use Dibond, which is dimensionally very stable) and with framing.  Pricing for a 20×25 print mounted in the simple the black float frame that I prefer (with no acrylic or glass, my strong preference) is currently about $1200.  If you jump up to a 28″x35″ print, the cost is closer to $2000.  Prices for pieces mounted in my own hand-built frames and for ones that are more sculptural in nature vary piece-by-piece.

Please reach out via my contact page with inquiries.

If you’re interested in commissioning a piece with a place that’s special to you as the subject, let’s discuss your the place,  what it means to you, your intended venue, and the process by which we’d work.  Please reach out via my contact page.