My most successful images set an ambush.
I treasure images which resist being instantly absorbed as a single entity. The ideal viewer’s eyes tend to flick across my images, ordering and prioritizing the several centers of interest as they interact and assert themselves. I love watching that conversation between viewer and image.
I seldom photograph in a ‘series’ in the sense that a public issue or a related group of objects or locations is examined in a set of photographs. This may be because my interests lie less in the subject matter and more in the dynamics inside the image itself. This is the common thread that makes my coherent body of work a 'series' in some sense. For better or worse, my images are not intended to directly serve the particular subject portrayed.
My work is both an ambush and an invitation to meet me on some mutually discovered new terrain.
I began by photographing extravagant coiffure creations that salons would enter into hairdressing competitions. Then I worked as a cinematographer on documentary films. Then as a dramatic screenwriter with feature films from my original screenplays being produced in the U.S, Canada and Australia. My fascination with photography as a tool for considering ambiguous reality seems to persist no matter what other creative areas I detour towards.