Artist Statement - About "Buildings In Motion Parts 1 and 2"

With this series I have made use of a framework of photo still-life that alludes to mutations of architecture, the interrelationships of personal and public space, and my reflections on the changing American landscape. When working with small still life tabletop sets I’ve become more interested in transitional morphologies and floating environments than describing actual buildings. When I do work on location and photograph real buildings, my desire is to remove their immediate context in order to give them their own unique indentity within the picture and, within their own historic framework. For me, the use of this method allows one to see more clearly each building's fragile individuality but, also its own temporary monumentality as a record of it own time. Often in this way, the more specific something is described, the more symbolic it becomes.

All of my work describes the contemporary landscape in one form or another. For me, picturing the man-made landscape simply refers to looking at the dynamic condition of how we shape the contours and symbols of the terrain that we've inherited. It also reflects how the powers of the natural world and global change affect our ability to reframe that landscape in our own image. Whether these photographs are taken in the real world or the still-life world, or a combination of two through display contexts and their digital extentions, my interests are more subconscious than literal descriptions. What we build is delicate, temporary, mysterious, and vulnerable in the face of greater forces at work behind the sculpted facade. In other words, if the 20th century was the century of man's attempt to dominate and shape nature, the 21st century will surely be the century of our attempt to rediscover our finite limits of domination within that relationship. We have no choice.

As the entire world becomes more tightly interdependent, in regard to resources exploited, climate linked, and information shared, the demarcations between the personal, the public, and the"natural" space begin to narrow and blur. In the end, it becomes one seamless planet with one shared history. The monuments and markers we build today, big or small, are as ephemeral as the shifting weather that will ultimately shape our fleeting memory of them.

 

Back to "Buildings In Motion Part 1"

Back to "Buildings In Motion Part 2"