I am a multi-media artist in a Google it world. To stay grounded I keep my photography close to the earth while I allow my paintings to soar into abstraction and psychedelic fantasy. Basically, I photograph where I live, where I go, and the people I meet. I meld these visualizations by scanning certain of my paintings directly and then layering them together with elements of my own photographs to achieve a fresh picture space. Such layering allows me to leave the tracks of creation which can take a viewer beyond immediate experience to question their own motivations as well as mine.
My expressive paintings counterpoint my restrained photographs; my musical compositions bring these dynamics together. It is as simple as that. However, the resultant fusion of these efforts as digital video is also shaped and shaded by our times. I pay attention to the stories around me. And I use the new tools. While my Native American roots incline me toward a meditational regard for the Earth and its beings, I am fascintated by things in opposition like plants growing against walls. I find this a powerful visual metaphor. Our relationship to water remains a compelling concern. To communicate my sense of interconnectedness, I create landscapes, cityscapes and seascapes in every medium, some as crepuscular orotone photographs on glass, others as intimate little silver prints, while some become big C prints or large paintings or projectable video frescos.
I say I make conceptual photographs because I employ both antiquarian techniques and the most up to date digital tools to establish images which do not sit easily in time. Anonymous people, architecture, sculpture, and the continuum of books are frequent elements in my constructions; so is my urban garden. Cats appear as if by magic. I like to photograph people over time. Such milieu portraits take years to complete. In fact they are never finished, even as terrabyte topographies are created. Time and passage become the motif.