statement

 

 

 

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, Freeman Patterson, Andre Gallant, Neal Rantoul, and Alison Shaw, among other photographers.

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. Within the camera’s viewfinder are metaphors – pictures that are both this and that, more than what they seem.

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.

I am also working on a new project — “LostBoys” — representations of young soldiers from many generations. This series includes the re-imagining of American Civil War tintypes, sepia images from the First World War, as well as more recent photographs of young soldiers killed in Iraq. These works are printed on aluminum, face mounted as transparencies on acrylic, or recreated as film strips on large light boxes.

william