Artist Statement
I set out to learn the photogravure process in 1994 with my partner, Marlene. We were told that it would take us seven years to really understand and control this complicated photo/intaglio process. Sure enough, over the next six or seven years, we had finally managed to feel comfortable and competent. Now, we both use this process almost exclusively for the production of our art.
place-home-house
As a photographer and printmaker with a three-decade exploration of mortality and transience, my artistic practice has consistently examined our complex relationship with impermanence. Through mediums like taxidermy and traditional memento mori and vanitas compositions, I have sought to illuminate our collective unease with the brevity of human existence.
The triptych, place–home–house, transitions from explicit representations of mortality to a more nuanced investigation of spatial perception and memory. By manipulating architectural imagery through detailed photogravure and chine collé techniques, I challenge viewers’ understanding of familiar environments. The triptych deliberately isolates architectural forms, creating a deliberate visual dissonance that disrupts our comfortable interpretations of home, scale, and location.
These carefully constructed images reveal the fragile boundaries between perception and reality, inviting viewers to question how we construct meaning from architectural spaces and our deeply ingrained memories of belonging.