Beneath the Surface
In a manner similar to the series Reveries and Other Fantasies, this series is an exploration of the issues of scale, representation, and certainty. Easily recognizable archaeological elements are dis/replaced into environments that are too big for them. Recognition is complicated by the misrepresentation of scale. The use of “ruins” from the Classical era are an acknowledgement of that Roman and Greek underpinning to much of my culture and experience. An experience that I carry with me whether I am at “home” in Italy or “displaced” living abroad.
Reveries & Other Fantasies
These photographs set idealized architectural miniatures against southern vernacular architecture. These images refer to ideas of place, belonging, refuge, escape and fantasy. These spaces are reveries tinged with nostalgia and wistfulness for what never was; illusions that seek and hope to become real.
When viewed together, these images form a narrative, an exploration of a space. They present the viewer with inhabited landscapes that are devoid of human figures but full of their traces. These fictional landscapes are anchored to a determined place, they dwell in a recognizable geography, a romanticized American South. Learn More
Curvy House & Arnold Hall
Expanding on the theme of Reveries & Other Fantasies these images react to the clean lines and spaces of buildings that were renovated in a modern manner. These images spaces that are not as worn and lived in as the previous series. The are more detached and less intimate without being less playful.
A Place Between
In rural South Carolina, we find places that are past their heyday, almost gone but have not disappeared yet. These are places that have lost their future but still retain traces of their past usefulness or glory. These sites were once stops along our way to a destination – or destinations in and of themselves. Now, these locations are nothing but “places between.” have been left to suffer the injuries of time and neglect.
They are neither monumental nor purposeful. We discard so much and willfully look the other way in the hope of convincing ourselves that we will get the happily ever after we so desperately crave.
Now, these locations are nothing but “places between.”
A Place Between in Color
As with the black and white version of this series it is an exploration of places between their useful days and their demise. In this series I explore how to tell the story without distancing effect of transforming the images into black and white. Turning the images monochrome has the effect of abstracting the subjects and removing them from our everyday experience.
Remembering the Orangeburg Massacre 50 years later
As the campus of South Carolina State University prepared to remember the protests of February 8th, 1968, I started to speak with my students about the events and what they knew. I was not surprised that they could only provide vague sound bites and that they could not reconstruct what happened with any detail or coherence. I started reflecting on how they had caught the headlines about the Orangeburg Massacre in a fractured and disjointed manner, but never examined the reasons behind the protests or how they escalated. I wanted to capture how the killing of three young, black men and the injuring of 27 black students on campus had become, in their minds, white noise. A gym, plaques, lessons in University 101, and many other SC State ceremonies were rote rituals, and seemed irrelevant to their daily life.
Rome Twice Removed
As I felt homesick for the city I grew in I came to realize that even the strongest and most closely held memories of the city I was born in are now mediated, jumbled and transformed by the myriad of images I have seen of Rome. There are few memories I genuinely trust as my own and even those, I suspect, have become mediated through other peoples imagery when I try to express them. The images that became the raw material for the video were gathered using keywords such as Rome, vacation, monuments, and film titles in various combinations. The images were then re-photographed off the screen of my laptop. The distortions seen in the video were created by forcing the digital back of the camera to misfire and then layered while editing; the artifacts thus created present a further distancing from what is presented to the viewer and the idea of the real. Similarly, the cacophony of layered sounds from Italian television is intended to disorient and push the viewer further away from comfortable viewing.
In a modernist manner these images are concerned with the formalist elements of art. These images are about the surface, texture, and formal capabilities of the medium of photography. These images are then presented on either on a screen or printed on metal thus denying the surface of the art objects created.