Rainforest, Fishtown, River Gee. 2004.
From the series, On the Plane.
“When we climb to 30,000 feet, our perspective becomes that of a deity, with the rules of time and space altered as we rush over the earth. In flight we are able to view the most remote corners of the natural world and the vast spread of the world we have constructed. It gives us the unique perspective to look at the interaction of the natural and constructed in a truly holistic way.”
From the series, Water Landscapes-Suspended Energy.
“This series of work was photographed on the shores of the New York and California coasts. The initial inspiration for this project originated from viewing waves in close proximity as a surfer. The composition of each image is similar to that of a formal landscape with the photograph taken straight at the horizon. This formal consideration comes directly from the point of view and perspective one experiences when in the water immediately before passing through an approaching wave.”
From the series, White.
From the series, White.
Placement (Family), 2007, from the series, Placements.
“I held a mirror in one hand and 35-mm. camera in the other. I focused between the view in front of me and what the mirror saw behind me, in order to make an image that was simultaneously looking forward and back. This image was made on a beach with shallow, calm water. I waded out about thirty feet and caught an image of a family jogging on the beach in the mirror.”
The eruption of the Grimsvotn volcano sends thousands of tonnes of volcanic ash into the sky on May 23 above Iceland. The cloud has forced the closure of Icelandic airspace and spread fears of a repeat of the global travel chaos that was caused by last year’s Icelandic eruption, although authorities insist that this Grimsvotn poses a lesser threat (Jon Magnusson / Getty Images Contributor).
From the series, Postcards from Google Earth, Bridges.
“The images are screenshots from Google Earth with basic color adjustments and cropping. I am collecting these new typologies as a means of conservation—as Google Earth improves its 3D models, its terrain, and its satellite imagery, these strange, surrealist depictions of our built environment and its relation to the natural landscape will disappear in favor of better illusionistic imagery. However, I think these strange mappings of the 2-dimensional and the 3-dimensional provide us with fabulous forms that are purely the result of algorithmic processes and not of human aesthetic decision making. They are artifacts worth preserving.”
From the series, Still Lake.