As a small child in Paris in the mid 1950s, I went to the Louvre with my mom two to three times a week. The Winged Victory was my jungle gym, (really!) and I spent hours lying on the floor, looking up at a ceiling full of Titians. My exposure to art was early, direct, and continuous.
Having discovered photography as a means of self-expression in my teens, I found myself in Gary Winogrand’s photography courses at UT Austin in the 1970s, listening to and being critiqued by Walker Evans, Lee Friedlander and John Szarkowski, who came to lecture. The sense I gained from them, that photography’s highest use is to document the human condition, along with my own innate sense of empathy, has always informed my work as a photographer.
I honed my craft through 35 years of editorial and advertising assignments. Throughout, I’ve continually worked on my own projects, including large-format ethnographic studies in South America and Indonesia, landscapes informed by the relationship of man to his surroundings, and still-life studies of industrial-age tools that reference the personalities of their inventors. While embracing photography’s remarkable technological advances, I adhere to its philosophical underpinnings, giving me great confidence in my current direction.