Digital Mix
Each free-standing image on this website originated as a color slide or black-and-white negative - except for those here, which were made with digital cameras. Though any image on a computer screen is necessarily digital, its point of origin holds a meaningful distinction for this photographer.
Color, horizontality and potency of content are among the unifying elements of this portfolio.
Each free-standing image on this website originated as a color slide or black-and-white negative - except for those here, which were made with digital cameras. Though any image on a computer screen is necessarily digital, its point of origin holds a meaningful distinction for this photographer.
Color, horizontality and potency of content are among the unifying elements of this portfolio.
At Home
My apartment, a rambling Chelsea walk-up, is the setting for these photos of naked men. My kitchen has proven to be a uniquely accommodating workspace, while also a source of metaphor, narrative and comic undertone. Most importantly, it provides a stimulating and disinhibiting environment for my models.
The men in these photos are friends and acquaintances of diverse professional backgrounds. My method is collaborative and improvisational. My style is casual and intimate, which entails the use of low light and fast film.
I create these images as artful evidence of particular erotically charged events, rather than pictures fashioned with an audience in mind. Yet they have proven to be eminently audience worthy and valued as well by the men who inhabit them.
My apartment, a rambling Chelsea walk-up, is the setting for these photos of naked men. My kitchen has proven to be a uniquely accommodating workspace, while also a source of metaphor, narrative and comic undertone. Most importantly, it provides a stimulating and disinhibiting environment for my models.
The men in these photos are friends and acquaintances of diverse professional backgrounds. My method is collaborative and improvisational. My style is casual and intimate, which entails the use of low light and fast film.
I create these images as artful evidence of particular erotically charged events, rather than pictures fashioned with an audience in mind. Yet they have proven to be eminently audience worthy and valued as well by the men who inhabit them.
Sculpture Gallery
As a photographer of men, I see in classical statues beautiful bodies, frozen in space, utterly available to my scrutiny and somehow, even when fragmented, desirable.
As a lover of art, I see charged objects, stunningly sculpted, displaced, and laden with centuries of cultural meanings. There's awe in finding myself in their presence.
The duality becomes especially evident when other people appear in the photographs.
As a photographer of men, I see in classical statues beautiful bodies, frozen in space, utterly available to my scrutiny and somehow, even when fragmented, desirable.
As a lover of art, I see charged objects, stunningly sculpted, displaced, and laden with centuries of cultural meanings. There's awe in finding myself in their presence.
The duality becomes especially evident when other people appear in the photographs.
Diptychs
Two images conjoin to form a unit (dyad), creating new meanings and complexity. Regard the seams: their porousness or imperviousness; how they fracture or blend pictorial space and time
The key to the diptychs is in their duality: each is both a single unified image as well as two individual images. This is experienced as an oscillation in the viewer's mind.
Two images conjoin to form a unit (dyad), creating new meanings and complexity. Regard the seams: their porousness or imperviousness; how they fracture or blend pictorial space and time
The key to the diptychs is in their duality: each is both a single unified image as well as two individual images. This is experienced as an oscillation in the viewer's mind.
