As a toddler, I was adopted by a couple who believed in love, health, and education. They generously gave me as much of these as I would accept. As a healthy white male American who came of age in the 1960s, I absorbed the ideas – both conventional and rebellious – particular to that specific situation, and took whatever advantages and opportunities I was offered. If it is true, as we are told, that life is a zero-sum matter, then every image here has been achieved by the exploitation of other people – in the past, in the present, and forever into the future.
I'm interested in the look of things. My photographs spring from seeing formal qualities and visual relationships that are inchoate or semi-expressed in the visible world and wishing to transform them into a work of art. I look for something to catch my eye, to wave me over, to ask me to photograph it: the overlooked ordinary. The subsequent realization of these perceptions in print form is the mysterious and unending satisfaction of the photographic process.
The photographs respond to the successes or failures of the ones that came before them. The process is visual, not driven by a preconceived idea, not made to illustrate an assigned subject matter. The subject is all the formal relationships within the finished print. The artistic impulse may be driven by age and loss, anger and regret, by a desire for freedom and play, but the statement is the photographs.
Greed, hatred, indifference and love, in wildly unequal proportions, have given us the world in which we live. Soon – perhaps fortunately – we will be gone from it, individually and collectively.
And yet.... It may be that, like an echo, something will remain of our various attempts to give sense to it all.