Prior to 2010, immersion into atmospheric and emotive place with works like Linear, Diaphanous, and Anamnesis, one may experience visually, something similar to ambient sound dominated with emphasis on a dreamlike state or intentional ambiguity perhaps referencing an unclear memory or a dream in which reality and the imaginary converge is at play.

The Luminaries Window series (2010) of non-objective geometric images established a new archetype in which collage and assemblage began to dominate my studio practice. Defined by the inventive play of lines, planes, and color, forming unspecific patterns, Concretism is a label that might be applied to this work. Ephemeral assemblages are chronicled through the lens; however it is the photographic print that is the subject itself and thus – “the art”. The conventional notion that photography is about representation is/has been rejected in favor of pure non-objectivity.

Aside from historic references and comparisons to twentieth century masters, there is a neurological explanation for the preoccupation with form, space and architectural references, the heightened creativity, fervor with which the work develops, and the emotional personal connection to the images which are created in series. It is Left Temporal Lobe Epilepsy (LTLE); a diagnosis made in 2000. Auras (a type of seizure attributed to LTLE) producing prolonged déjà vu experiences, intensify the ongoing sense of familiar connections and altered perceptions. This phenomenon may explain the emotional connection to places and things. Observations made in urban environments regularly deliver inspiration. Without intention to recreate specific structures, but rather, to create compositions with emotional reverence for architecture and form and space relationships, organic images evolve with intuition from fractured impressions either actual or imagined. Although short term memory is significantly compromised, long term memory and a sense of nostalgia about things or places with an acute familiarity are intensified to the point of conjuring a peculiar ardor of inanimate objects or places – hence the “love” of particular buildings, forms, or locations.