A good photograph asks something more from the viewer than just a fleeting glance. It asks for stillness. It rewards a second or even a third look, with each pass revealing something new — a shadow you hadn't noticed, a texture that shifts with the light in the room, a detail at the edge of the frame you hadn't placed before. I make photographs for that kind of looking. Over time, they become less something you look at than a way of looking.
Bestiary
Medieval bestiaries treated animals as more than natural history. Each creature carried a meaning: a virtue, a lesson, an omen. Bestiary takes up that tradition in a collection of black and white fine art animal photography.
The iconic conical hat of Vietnam: shade, shield, and a quiet veil. Women on the rivers of the Mekong River and the lanes of Hội An, glimpsed beneath the brim. Black-and-white prints, offered only as triptychs.
The Angkor Wat temple complex and the Mekong River at 850 nanometers, in light just beyond the eye's reach, where the jungle glows white and stone turns pale as bone.
Water, stone and the last of the light. Quiet places at dusk and after dark, where the day’s edges have softened and little remains but shape and silence.
A palimpsest is a page scraped clean and written over, its earlier words never quite gone. Hands and faces keep their records the same way. Years of work and waiting settle into the skin, each layer still legible beneath the next.
