My work began with a deep need to communicate and my means of expression was with photographs. As one of the original SoHo loft dwellers, I considered myself an artist – not a photographer. This meant more than a title, it was a description of my work and interest.
Photographs sprawled the walls of my loft and I was sure I was “in the zone” forever. The first photograph I sold to the Museum of Modern Art was from this early work.
Then I saw the portraits of Disfarmer and my prejudice was broken open. The style and intimacy of his portraits of rural Alabama resonated with me. Until then, I thought photographs that appeared in books must be constrained and glamorous, and my work was concerned with energy.
I became excited to explore a portrait study of my own community. My enthusiasm was contagious and a parade of artists and friends began the journey to my loft. These portraits happened between August 1979 and June 1981. I chose to use black no seam, natural light, a Rolleiflex 2 ¼ twin lens reflex, and pushed black and white film to assist me in achieving the necessary contrast to best see my subjects.
To avoid prejudgement, I would begin the sitting as soon as the subject came to my studio. I would shoot only one or sometimes two rolls of film for each portrait. I was naively alarmed when some artists found their own pictures to be insulting. My vision apparently elicited discomfort. Actually my heart was in every picture and I fell a little in love at each photograph. These portraits move from the inside out with honor and grace.
