EDUCATION

Bard College - Annandale on the Hudson, N.Y.
Continuing Studies in Advanced Photography (1997)

Humboldt State University - Arcata, C.A.
B.A. (1996) Visual Communications , interdisciplinary degree combining study in Film Production, Photography, and Video Production.

Santa Rosa Junior College - Santa Rosa, C.A.

Lower division studies ( 1988-1992) in Communications, i.e. ; Mass Media, Rhetoric, Psychology, Marketing, Video Production, Debate, etc.

School of Visual Arts - N.Y., N.Y.
Film Production (1991)

SELECTED EXHIBITIONS

2007
Solo exhibition - "Anyone's Elvis", Pablo's Birthday, NY, NY
Group show - "The Brooklynites", The powerHouse Arena, Brooklyn, NY

2006
Solo exhibition - "Transit Glyphs", Boulder Museum of Contemporary Art, Boulder, CO

2005
Solo exhibition - "Transit Glyphs", Pablo's Birthday, NY, NY.

2004
Solo exhibition -"Spree Park, Lost Paradise", Pablo's Birthday, NY, NY.
Group show - "Art is not untouchable", Pablo's Birthday, NY, NY.

2003
Solo exhibition - "Evidence," Wax Gallery, NY, NY.

REPRESENTATION
Pablo's Birthday, 84 Franklin Street, NY, NY

COLLECTIONS
L. A. County Museum Of Art



ANYONE'S ELVIS

My exhibition is not about Elvis. He is a myth built into the fabric of our American culture. A culture filled with bric-a-brac as a house is with the accoutrements of life. Elvis is a piece of cultural furniture, and in my title serves as a touchstone loosely referencing the places and things that lay about us, and form the terrain of our collective identity. His is a journey of epic proportion, an American dream, and an American cautionary tale. I found my “Elvis” in the bar rooms, parades, carnivals, racetracks, city streets, open roads, cornfields, churches, and lost places of upstate New York. I went to Upstate New York to explore an interest in what I think of as domestic decoration, or primitive expression. How people express themselves without any airs to “Art”, and how in many ways, putting glass spheres and gnomes in ones lawn is akin to painting buffalo on the wall on ones cave, graffiti on subway windows, or for that matter, taking pictures. I found more of interest than my scripted theme encompassed, and soon began to shoot shotgun style, with photographs taken as my eye found them. This approach risked creating a disjointed scatter of photographs, but I proceeded intuitively navigating toward what I trusted would ultimately have an intrinsic through line. I am satisfied it does. The photographs that make up Anyone’s Elvis are of the Hudson Valley of 2006, yet they seek to describe archetypical strains running through “Anyone’s” America. In this handful of photographic threads I see the dream, the cautionary tale, the glory, hope, and tragedy….

If America was seen as an individual, I see in her furnishings an epic personality.

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SPREE PARK

Spree Park is useless. People pass by it daily taking hardly any notice of it at all. For me it is a story. There is tension between what I found there, and what it had been. In every photograph of this now over grown and defunct amusement park, is the implied history of the place. The laughter and screams of children is a near echo away, and all that this place once was is imported by these documents of what it has become. Today Spree Park sleeps, when I stepped through the torn gate past the no trespassing signs, I stepped into a dreamland – a perfect evident poem to which these photographs testify.

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TRANSIT GLYPH

I came to this project while ferrying over the Williamsburg Bridge on the J train, the sun low in the sky, and staring out the window marveling at the light on the water and the fervent activity of the city. The Brooklyn Navy Yard, the baseball fields, the towering residential buildings of the lower east side, all in concert producing that everyday awe that New York City so casually inspires. It is something I had done a thousand times before, but on this day in a synchronistic moment the window and the city became one - everything came together- not only visually, but in the velocity of my scattered aesthetics, and the history of my photographic attractions. It is about looking at routine things and seeing them activated. Thinking about what the story would be if I put them within a frame. How, by excluding and isolating, I can make something wholly new, and compelling. My interest in the "Transit Glyphs” is more about the feeling of line, movement, rhythm, structure, and the more universal implications of creativity and place, than the specifics of graffiti itself. The actual prints are over 5 feet long. It is my intention that one would relate to them for their gestural qualities, and there kinetics. Further, that the simultaneous perception of the flat surface, and the abstracted, out of focus "Ground" of the cities architecture, would prompt synchronicities and tensions. Tensions both visually, and in terms of ideas about photography alone, and in relation to painting.
I have a growing interest in language in art. In this case I am particularly interested in the breaking down of the symbols that occurs when using acid and etching tools on glass - alluding to language. Notice that I seldom show specific language or tags, and tend to choose the windows that speak by way of the totality of their composition.
At times these have been mistakenly percieved as “Ready mades”, as if they are found and documented more or less straight, and that I am merely making them “Art” by isolating them. In fact so much more goes into it – these are not documents in that sense. Apart from hours of riding trains studying hundreds of windows and selecting those that meet the ideas I have brought to the project, there is the primary importance of the Active relationship of the window to its compliment; the urban landscape, seen on high from a moving train. The process was different then ever before. Instead of traveling about going from here to there, I am in one place, the subway car, watching the world go by through the window, a new image appearing at every moment. The composition, the light, the context, and the color, are all changing from one moment to the next. Of course I did not make this project or see these things by accident. Here are some examples of work that helped create what I earlier referred to as “the velocity of my scattered aesthetics, and the history of my photographic attractions.”