Artist Statement
My photographic work is concerned with engaging architectural space on many different levels: intimate, sensual, psychological and intellectual. This interest in space and the desire to give it formal expression stems from my life long sensitivity to the built environment in terms of its mental and physical influence on the human being.
My photographs of the built environment are spaces for thinking. The architecture, freed of its physical aspect by the abstraction of the photograph, becomes a locus of ideas. To look at them is to go into an architectural space of the mind. Because I photograph almost exclusively under available light conditions, the quality of light coming through the windows becomes a distinct factor in creating the formal and emotional tone of the image. Reflecting on this, the notion of the obscure chamber, or camera obscura comes to my mind. The camera is a ‘dark chamber’ into which light enters through a lens before hitting the film’s emulsion. Likewise, the dim rooms that I photograph have windows as apertures that let light in. This elegant relationship between camera and room (the word ‘camera’ comes from the Greek ‘Kamara’ meaning room, or chamber) is one of the metaphors that came to light while photographing these empty interiors.
My photographic work is concerned with engaging architectural space on many different levels: intimate, sensual, psychological and intellectual. This interest in space and the desire to give it formal expression stems from my life long sensitivity to the built environment in terms of its mental and physical influence on the human being.
My photographs of the built environment are spaces for thinking. The architecture, freed of its physical aspect by the abstraction of the photograph, becomes a locus of ideas. To look at them is to go into an architectural space of the mind. Because I photograph almost exclusively under available light conditions, the quality of light coming through the windows becomes a distinct factor in creating the formal and emotional tone of the image. Reflecting on this, the notion of the obscure chamber, or camera obscura comes to my mind. The camera is a ‘dark chamber’ into which light enters through a lens before hitting the film’s emulsion. Likewise, the dim rooms that I photograph have windows as apertures that let light in. This elegant relationship between camera and room (the word ‘camera’ comes from the Greek ‘Kamara’ meaning room, or chamber) is one of the metaphors that came to light while photographing these empty interiors.
