My images are examples of possibility within the realm of the impossible. I utilize the psychology inherent in the photographic medium to attain a surreal world for the performance of my ideas. Allegorical story lines are established through the formal use of association, metaphor, symbol, icon and archtype that are to be found in the attributes and relationships of the visual elements. The formal structure in my work is of tantamount importance in presenting a proposition for the viewer to interpret. I use aesthetics of classical beauty to seduce the viewer into places where they may not otherwise go. The computer enables me to materialize any fantasy and tweak any reality to be precisely as I envision it.
The formal aesthetics of my work are influenced by traditional artists such artists as Edward Weston, Irving Penn and Robert Mapplethorpe, as well as masters from art history such as Albrecht Dürer and Jan van Eyck. On the other hand, I am influenced by the psychological structure of surrealists such as Salvador Dali, René Magritte, Giorgio De Chirico and John Heartfield. I find inspiration in esoteric symbolists such as William Blake and Georgia O’Keefe and magic-realists such as Frida Kahlo, Gabriel Garcia Marquez and Jorge Luis Borges. I have always admired the work of contemporary photographic storytellers such as Duane Michaels and Arthur Tress as well the allegorical genre within the early history of photography. Reference to Egyptian and European mythology can also be found in my work. Yet I do not consider my work to overly influenced by any single artist or tradition. Ultimately, I am not familiar with work similar to my own and have little respect for the majority of shallow digital art that I am confronted with.
Although my work is surreal in nature, it is more correctly placed in the movement of “Magic Realism”, which is less coincidental and not a fantasy set in the unreal. Magic Realism is an artistic genre in which everyday elements appear magical in an otherwise realistic setting. In a fusion between physical and psychological states, mundane elements are endowed with deeper meaning while staying grounded in physical reality. My style relies on the psychological assumptions that are the inherent nature of photography - the assumption that photographic reality is a representation depicting what was in front of the camera and therefore true in some way.
Art at its best does not simply please the eye but activates the thinking process to ponder, wonder, emote, relate and somehow cause an experience to take place effecting our constant state of flux and growth in some way as we progress on our