Broadly defined, my artwork is either of nature or inspired by nature. Like many before me, I could never be comfortable in a world without wilderness, and I am at my happiest when traveling the remotest corners of the globe. Unaltered landscapes have become increasingly difficult to find, let alone to photograph—telephone poles, roads, and buildings fill the American West. Although iconic, I have become increasingly reluctant to take yet another look at Old Faithful, The Grand Teton, or Yosemite Valley. I love those places, but their sense of unknown and wild has waned with their waxing familiarity. Instead, I search for less familiar subjects, and in my photographs you will see my addiction to places where cell phone reception is nonexistent and tourists are unusual.
Tall mountain meadow grass is the perfect example of finding less familiar and unexpected subjects. Although entirely natural, the kaleidoscopic explosion of colors and shapes can be surreal. For details about the process and my artistic intent, see “A Lawnmower Subversive”.
Destructive flames have an odd allure. After months of photographing wild and prescribed burns near Boulder, Colorado, I gained a tremendous amount of respect for wildland firefighters. They do a valuable, romantic, and difficult job. But my opinions about wildland fire mitigation are more nuanced. For details about fires and my artistic intent, see “One End of the Forest”.
In some portfolios, I have painted images with viscous oils onto warped glass. As the oil slowly runs, the temporary image is captured with a photograph. The oil’s ever-changing distorted expressions of reality are perfect for examining the political discussion of climate change or for expressing the reality-warping ennui of back surgery. For details about my mixed-media abstract works and its close relationship to my nature photography, see “About My Mixed-Media Art Portfolios.”