Château du Val Larbont, La Bastide de Sérou, France, Friday, February 15, 2019 at 8:44 AM

Harbor Bay Parkway, Bay Farm Island, Alameda, California, Friday, September 9, 2016 at 6:43 to 6:44 AM

Port Cerbère, Cerbère, France, Tuesday, February 19, 2019 at 11:31 to 11:32 AM

Payomet Performing Arts Center, Highland Center, Truro, Massachusetts, Saturday, December 1, 2018 at 1:06 to 1:07 PM

Alberto Giacometti: A Retrospective, exhibition organized by the Guggenheim Museum Bilbao in collaboration with the Fondation Giacometti, Paris, October 19, 2018 to February 24, 2019, Guggenheim Bilbao Museoa, designed by Frank Gehry, 1997, Bilbao, Espania, January 20, 2019 at 11:10 AM

Memorial Passatges, el Memorial de Walter Benjamin, 1990–1994, Dani Karavanhe (1930– ), Cemeterio de Portbou, Portbou, Catalunya (Espanya), Friday, February 8, 2019 at 2:19 to 2:27 PM


> There are trillions of photographs in the world; millions more are added each hour. Not many are ever deleted. Why would anyone want to take another? Because there is something new to photograph? Probably not. So why, what, and how to photograph? I am trying to find out.

> I am not particularly interested in a single (unique) moment, a single (exceptional) image, or a single (specific) point of view. I am interested in complicating the idea of the single image, and of the singular experience of time and place, by finding ways to inject simultaneity and multiplicity into photographs, objects, and actions. I am interested in duration. I am interested in memory. I am interested in looking. 

> My work addresses the complexity(ies) of locating oneself physically and temporally in the world. It usually relies upon manipulations such as doubling and/or halving, of seeing two or more things simultaneously, and of not being able to see the whole of either one. Consider the (im)possibility of being able to look forward and backward, left and right, or at the front and back of something — at the same time. I have produced works informed by the critical and formal languages of painting, sculpture, site-specific and location-specific installation, and since 2006, photography. A specific investigation of time and space runs through all of these works (a “mashing” of two- and four-dimensional conditions). I also think of my current photographic work as “episodic” — somewhere between the instantaneous and the cinematic. An episode is not a single moment, nor is it a complete narrative. It is what, and how, we remember.> The question remains: why, what, and how to photograph? Although much of what I do is outside, I am not interested in landscape (except for Jean-Baptiste Corot’s paintings of trees). I prefer the harsh light of midday or the artificial light of midnight to the “magic hours” of dawn and dusk. I usually shoot buildings, but I am not particularly focused upon architecture. I am drawn to 16th – 18th c. northern European still lifes; their quiet dustiness forever frozen in their painted surfaces. I sometimes — oftentimes — do not look through the viewfinder when I shoot. I look ahead to what may be in the camera’s path. I shoot low to the ground and above my head. I am interested in what is between photographic moments — empty spaces that one sees just outside of one’s vision — or what is directly in front of me with little attention to composition.

> I am also interested in how the camera sees things differently than I do. It remembers all that it sees without discretion. The camera works impartially, determined by the settings chosen and the conditions of the scene. It does not decide; it operates. It is dumb/smart. My problem, then, is not how to take a technically correct or beautiful image, but how to use the camera and digital technology to disclose what we cannot see — movements in time, objects in time, locations in time.

Whitewater Preserve, Whitewater Canyon, California, Saturday, January 21, 2017 at 12:56 to 12:57 PM


> The NOT_HERE project is a series of long exposures of multiple views of the same location, or of multiple elements in the same location, produced with the intent of complicating the idea of the singular image, and of the singular experience of time and place, by finding ways to inject spatial and temporal multiplicity into the final image. Like the “viewer(s) / painter(s)” of Diego Velázquez’s Las Meninas, the camera looks left and right — or in front and behind itself — at the same time. These images are different than layering two or more separate photographs; these single exposures “paint” themselves by allowing light surfaces to erode dark objects and light objects to draw upon dark surfaces. The resulting transparency(s) create a range of physicalities and points of view, some elements solidly there and others fleetingly not.

> These are not photographs of things or places. They are photographs of relationships between things and the condition(s) of place. Not landscape, but location. Not subject, but situation. One might think that anything or any place would work; instead, the opposite is true. Subjects intrude. These photographs work best when there is no subject matter locking one’s gaze and narrative attention. They accumulate and do not reduce. They look across, not at. They are slow, not fast.

Pasadena Convention Center, Pasadena, California, Wednesday, August 31, 2016 at 4:19 AM

Alcatraz / Dolphin Swim & Boat Club, San Francisco, California, Wednesday September 7, 2016 at 6:26 AM