When my youngest child prepared to leave home, I found myself drawn to the wooded landscapes around our house on walks with the dog. The natural world offered a broader perspective on my family’s imminent transition and I began to make pictures during those walks. Since 2018, I have been experimenting with diptychs, triptychs, and the occasional tetraptych in my work. I find that multiple-panel presentations create dialogs between space and form, and imply passages of time. As I wander through a variety of settings, I discover surprising patterns and details in overlapping frames; they seem to echo with family myths or memories formed in locations treasured by my now grown sons.
As a portrait photographer, focusing my camera on the landscape was an unexpected and fruitful turn. The visual threads in my pictures reflect physical, psychological, and spiritual meanings of familiar environments. I find myself looking for figurative gestures in the trees or streams, and in the man-made imprints upon the land. I wish to impart a tenor of solitude that conveys a reverence for the fragile and enduring ecosystems that surround us, and draw parallels between the cycles of nature and human life.