PORTFOLIOS
In August of 2022, seventeen years after my last visit, I returned to Utah’s Great Salt Lake to visually document the environmental transformation caused by climate change and water diversion.
In 2018 and 2019, I travelled to the Florida Keys, Chesapeake Bay, the Marshall Islands, Kiribati, and Bangladesh to document the dire effects of rising tide on coastal communities.
In 2015 and 2016 I decided to visually document the Arctic Melt before this landscape disappears.
In the austral spring of 2012, I traveled to Antarctica to photograph its amazing and varied landscape on a grant provided by the National Science Foundation.
In 2011 I was awarded a grant to photograph New Zealand’s surreal landscape, with the goal of drawing attention to the abundance of ultraviolet radiation that is affecting New Zealand’s population.
Four months after Eyjafjallajökull’s dramatic eruption, I made my third visit to Iceland. Surveying the volcano’s crater and the country from a Cessna 172 single-engine aircraft, I documented this dramatic and magical landscape.
Returning to Iceland in August of 2008 (just seven years after my first trip to Iceland), I decided to photograph the glaciers in color using the ultraviolet-light spectrum. This time I travelled east to the largest glacier in Iceland, Vatnajökull.
In 2007, I traveled to the Arctic Circle to document the effect of the ultraviolet and the infrared light spectra on the magnificent icebergs and the endless ice sheet of Greenland.
In 2007 The Modern Bank commissioned me to photograph historic 20th century bank vaults in New York City. These images were then installed in their corporate offices. The beauty of their forms fascinated me, and the longer I studied them the more alive they became.
In 2005 while making a trip to photograph Robert Smithson’s work Spiral Jetty with black and white infrared film, I noticed the vibrant colors that the lake exuded. Using a digital camera during the helicopter flight, I photographed several images over the Great Salt Lake.
I have always been fascinated with the many possibilities that can transform the landscape into an art form. The Earth artists of the 60’s and 70’s believed that art should be available to everyone and therefore should be created and displayed outside of the structure of museums and galleries.
Internal Reflection (2004) is an installation that illuminates the complexity of nature through photography, lighting and sound.
My first journey to Iceland, in August 2001, began my long-standing passion for the Arctic. Taking an Arctic four-wheel-drive Land Cruiser to the Snaefellsjökull and Langjökull glaciers, my Icelandic guide and I searched for locations where mounds and crevasses of snow created unusual patterns.
Using Kodak High Speed black and white Infrared film, I have been constantly exploring the effects of infrared light throughout the world. The sensitivity of infrared film allows me to see “through” and “beyond” the image.
On a warm sunny morning in March 1998, I traveled by snowmobile through Independence Pass in Aspen, Colorado. Photographing Aspen’s beautiful snow and ice formations with infrared film allowed me to capture the multi-faceted essence of frozen water, which I could not see with my naked eye.