I feel no need to seek out grand vistas or exotic locales, majestic mountain ranges or rushing rivers. It’s the common wooded landscape of my day to day life that captures my attention. Many of the images in my current work are from areas close to my home; others are from farther flung places, but places that I just happen to be for one prosaic reason or another. They are places that are generally more ordinary than spectacular.

By photographing the treed landscape with a purposefully oversized pinhole or a radically defocused lens, however, I capture it as it is not often seen. The images are firmly grounded in the natural world, a particular place, a particular season, a particular time. But by obscuring detail, only the strongest brush strokes emerge: the images become sketches with light, literally and figuratively. They tend to float between there and not there, to dissolve into abstraction and reconfigure themselves back into recognizable form.

I began this series when my father, then 83, started loosing both his sight and his memory. Strangely, the work has been comforting. Beauty, though fleeting and fragmentary, seems to console me.


Museum of Fine Arts, Houston, Texas
Center for Photography at Woodstock Permanent Collection, Dorsky Museum, New Paltz, New York Lehigh University Art Galleries, Bethlehem, Pennsylvania
Schenectady Museum, Schenectady, New York
Weill-Cornell Medical Center, New York
Tiffany & Co., Singapore, Japan & China
Banana Republic, New York, New York
Babcock and Brown, New York, New York
Vinson & Elkins, LLP, Houston, Texas
State Street Corporation, Boston, Massachusetts
Ayco Financial Services Corporation, Saratoga Springs, New York
Woodstock Inn, Woodstock, Vermont
Okemo Resort Corporation, Ludlow, Vermont
Spruce Mountain Lodge, Stowe, Vermont
Hudson Valley Community College, Troy, New York
Sheraton Hotel, Stockholm, Sweden