My images and poems reflect an effort to meld my artistic and psychoanalytic sensitivities and are remnants of encounters during ordinary life.
I use photography and poetry as portals to access what is at edge of my emotional vision. A camera is a physiological enhancing prosthesis allowing me to see more than my mind can register. When I am still, my optical unconscious alerts me to moments of aliveness – just beyond the periphery of my visual grasp. There are pictorial and word images to be found everywhere, whether apprehended in the daily newspaper or in a decaying leaf or selected from the thousands of dated negatives or candid portraits of people who befriended me, however brief.
The photographs in Images from the Inside graphically captured my dream imagery. They are images which were, paradoxically, found in fleeting moments of my waking life – blurring the difference the “internal” and “external.” In this early work, I imposed a new image on top of an older one as a way of playing with time and timelessness. They attempt to depict how memory works, how old events are experienced in new forms and how they appear in each register of repeating, remembering and working through that occurs in an analytic treatment.
In my recent work, I explore translucency. In the Translucency, Leaf Series and Torn Images portfolios, the photographic process reveals images, graceful shapes, delicate geometry and exciting shadows revealing how their aesthetic beauty is hidden behind the surface – I have just begun to explore what translucency will bring into view.
While the photographic and poetic are forms of expression, they are also methods of investigation. My poetic searches for words for what is inarticulate whilst the photographic is an agent for my visual imagination – I would be poorer without either one.