begins before the technical. I visit a site to photograph it, to gather
information, to gather thoughts. I contemplate, I imagine, I search
for the icon that points to the ordinary thoughts of those who occupied
a specific place at a given time in the past.
The painterly juxtapositions of the photographic elements come from
a non-linear process. Beginning with a few layered photographs, the
procedure quickly turns from additive to subtractive. My primary tool
is a pressure sensitive eraser. Subtractive gestures are positive
actions, allowing one image to poke through another, then to be pushed
back by something else, and then to poke through just enough to make
it all come together in a series of dancing relationships.
As the complexion of the image emerges, additional elements are integrated
into the evolving imagery not only by pasting them on top, but then
by erasing again to reveal the underlying elements. The process is
repeated many times, so that the imagery is interwoven rather than
applied. I have been working in this fashion since the days of Electronic
Arts Studio/8, which incorporated a draft page as a precursor to the
layers of Photoshop.