Wednesday, February 1, 2012
I have always been interested in the idea of the sense of the passage of time in my work, from the first piece I made as a young artist in college through my most recent images. The piece I consider my initial artistic work (I was a printmaker at the time) is an etching that uses two photographs I knew from my childhood. Both images were taken in Europe; the first is of my grandparents and the second is of my father as a toddler. In the finished piece I combine these two photographs and add a third element, that of the landscape outside the window I worked in front of. All three images are joined, juxtaposed, entwined, with the limbs and vines of the trees outside the glass panes winding their way through bodies and turn-of-the-century hats. The result is a single image that implies many, and implies travel across ages. As a painter in the late eighties and early nineties, I worked with multiple images, building surfaces comprised of many sections, some lying one on top of another, all contributing to the sense of the passing of time. At the outset of my life with a camera I explored a sense of the ephemeral - extended moments, slowed, remembered time. I have returned to this kind of image making most recently, particularly in the grids I present here. The grid is the natural step for me in implying time passing. The construction forces one to move from frame to frame, jumping in small increments across the page or screen and making one note the eternal push forward in time and space.