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Over the past decade I have returned, again and again, in all seasons, to a lily pond in southern Maine. From a jon boat, I watch how life unfolds, absorbed by and into nature. If luck is with me, I glimpse moments of rightness – the unity that reveals itself in what seems common and in what I thought I knew. The work is made up of traditional landscapes, abstract macro images, and leaves frozen in ice. My book, “Anthem: For a Warm Little Pond,” is made up of 50 of these film and digital photographs.

I also do macro portrait work. “. . . But when I became a man . . .”  (1 Corinthians 13:11) are macro images of “as found” vintage metal toy soldiers. Representations of war trauma, they also embody how childhood play presages adult experience. Implicit in these images are the children who played with and damaged these toys as well as the men they later became. This series takes the form of 4×5 inch wet plate collodion tintypes that I house in 19th century brass matte “half plate” cases, and 24×36 inch dye sublimated aluminum prints. Another part of this exploration, titled “LostBoys,” uses images of “real” soldiers, ranging from Civil War tintypes to photographs of young men who were killed in Vietnam and in Iraq.

Fine art photography relies most of all on seeing, but also on good technique and principles of design. I have been fortunate to learn from Karin Rosenthal, Bobbi Lane, Christopher James, Freeman Patterson, Andre Gallant, Neal Rantoul, and Alison Shaw, among other photographers.

Anaïs Nin once wrote that the personal life, deeply lived, always expands into truths beyond itself. I seek images that make you feel, notice, linger. Consider them a remembrance – where I’ve been, where I’ve returned.

william