My work is about the spaces that reflect the human hand (for construction or destruction). Sometimes there are hints of humans, but often, it is about the human endeavor, not the specific person. The subject of the work is about what people make and do, and the people who either make the things or use the things. It is about both the material and spiritual culture and the individual’s involvement in both.
Especially in China, these photographs reflect fenestrated light because it is deep in their aesthetic to fracture the infusion of architectural light into segments, by contrast to our own unbroken “picture windows” which frame an entire scene. My work is also about the effect of continuous construction in every city, in every town in China. The scaffolding, the tarps, the workmen, the changes. But that mystery of light and physical change is found in Portland, Oregon and New York City as well as Jerusalem.
My photographs are not timeless; quite the opposite. Markers anchor the work to a specific time, especially images of material culture. We recognize the time-signs by historical references, garments, vehicles, architecture, juxtapositions, or by something that is in process that inevitably is completed.
It is this ever-changing environment that is engaging.