For 35 years I have been devel­op­ing a per­son­al way of mak­ing art. Com­bin­ing graph­ic, pho­to­graph­ic, and pro­ject­ed mate­r­i­al, I pro­duce work that appears as a non-nar­ra­tive series of images or what I have called foto-pro­jec­tions*.

My foto-pro­jec­tions sug­gest the intri­cate nature of human per­cep­tion by re-order­ing visu­al infor­ma­tion to pro­pose irrec­on­cil­able time frames, shift­ing van­tage points, chang­ing moods, and mem­o­ry traces.   Each image rep­re­sents one of the many pos­si­ble ways of evok­ing a place or a moment; and the series alto­geth­er sug­gests the com­plex way we expe­ri­ence the world. Some of the series have been pre­sent­ed as large-scale time-based instal­la­tions in which the images dis­solve and fade into each oth­er. Seen this way, the sequence seems to exca­vate a real or imag­ined archae­o­log­i­cal site there­by slow­ly reveal­ing a rich sed­i­men­ta­tion of an irrecov­er­able past.

* I devise a low relief col­lage based on pen­cil sketch­es. Using mul­ti­ple slide pro­jec­tors, I project frag­ments of rel­e­vant slides that I have tak­en onto the col­lage. Using a large for­mat cam­era I pho­to­graph the mod­el with the super­im­posed pro­jec­tions to pro­duce “foto-pro­jec­tions.” Each image has the same col­lage as its back­ground but is lay­ered with dis­tinct slide infor­ma­tion to sug­gest var­i­ous modes of look­ing — con­tem­pla­tion, rumi­na­tion, or reverie.