The series Improbable Landscapes is a 2025 project exploring the beautiful oddities of the strange light and illogical geology of European Medieval and Renaissance paintings. In this project, the focus is on capturing and transforming these scenes through collage into new works that emphasize the patently peculiar beauty of the color, light, and sculptural geological forms of that period.
In homage to Hokusai’s “36 Views of Mt. Fuji,” these images are an exposition of differing views of the destruction of the old bridge and the raising of the New Bridge that now spans the Long Beach Harbor.
Northeast of Albion, Montana, on June 28, 2018, we were confronted by eight tornadoes.
The photographs on this page are taken from a larger series called Fighting Fire. This series stems from visits over a number of years to Oahu’s underground fire dancing sites.
The collage series, The Mortification of Time, is concerned with the movement from innocence to decay, from clamor to silence, the desire for rescue and miracle, and can be viewed as paper echoes of the oddity of human existence.
“The powerful get away with murder. And all the gods in the sky look away.”
Shehan Karunatilaka: The Seven Moons of Maali Almeida
“Alone, alone, all, all alone
Alone on a wide wide sea!
And never a saint took pity on
My soul in agony.”
Coleridge: The Ancient Mariner
The collage series Casual Eugenics utilizes cartes de visites, cabinet cards, charcoal/crayon portraits, and other random detritus from the 19th century to recast the definition of personage.
The collage series, Lucy Goes to Pieces, started with finding a torn up photo-booth photograph of “Lucy” in a nearly abandoned mall somewhere in Maine. Like Humpty Dumpty, she begged for reconstruction and re-vivification.
This abstract collage series stems from photographs taken at Slab City at the edge of the Salton Sea. From a conversation with a man who had built himself a domed domicile out of metal scavenged from an RV graveyard in the desert, came photographs documenting the stunning decay of his walls. These images served as a substrate from which grew this series of analogue collages.
