Photography is the primary way in which I can communicate my ideas to the world. It is often my first thought when I see something I feel needs to be expressed, “how can I capture that in a photograph?” My projects often explore the theme of human impact on the environment, the contrasts of urban existence with nature, and individual memory vs. group memory.
As the 90’s rolled on, my work moved away from people and portraiture into the effects people have on their environment. Much like Irving Penn and his ‘Cigarettes’ series, I focussed on the remnants of humanity – the things left behind, the discarded object, the thing you walk by everyday but never really look at. I took an extraterrestrial view and found fascination in the everyday.
Living in Vancouver, Canada, nature engulfs the urban and that relationship has coloured much of my work. Humanity paves down Nature in its effort to urbanize, and Nature eventually creeps back into dominance through the process of time and decay – a process I have found myself attracted to.
At this point, I have taken two avenues of pursuit in my photographic projects: how we see – a more abstract and “painterly” direction, and humanity’s effect on our environment – a more documentary / collection of ephemera direction.
In the “how we see” category, are my projects such as, ‘Time Passages’ – a multi series project using the camera as a paintbrush and raises the idea of memory of a place. Two current projects: ‘Tapestry’, and ‘Photo Cubism’; both explore older two-dimensional visual arts while merging those concepts and practices with ones from today.
On ‘humanity’s effects on our environment’, I have documented that process of decay and ‘exquisite decrepitude’ (Wrecks , and Bear Pit ), documented the relationship between humanity and nature via our resource industry (Pyres [2008-2010]), abstracted the everyday (Carnage ), and used impressionism to convey my ideas on the taming of nature and the quest for solitude (Beaver Lake by the Numbers ).