Often, when stating that I’m a photographer, the immediate question asked is: “What do you photograph?” That’s a simple question, but the answer can be far more difficult for someone working in the field categorized as ‘Fine Art’.

The ‘subject’ has always been singular, and independent of the physical form providing the ‘canvas’. I aim for the Transcendent, or, to quote the Kena Upanishad: “That which cannot be seen but by which there is seeing.” To capture traces of the ineffable, to glimpse at what is the whole of which the image serves as a ‘window’  is the goal, whether it be framed in a portrait, a landscape or a still life.

At the age of eight, I was presented with a Kodak Brownie Starflash camera which instantly transformed my world, in the same fashion that the Macintosh did decades later. Photography become my journal, my means of translating what the senses provided. For the rest of my life, with varying degrees of intensity, photography has been my primary means of expression. Occasionally taking a back seat to music, painting and sculpture, photography remains a constant to the present day.

A BRIEF CHRONOLOGY:

Born: Houston, Texas, 1949

1970: Moved to NewYork to study with Robert Beverly Hale at the Art Student’s League. Won a full tuition scholarship. Worked at Marlborough Gallery, met with, and sometimes assisted some of the giants of Abstract Expressionism and early Pop Art.

1971: Moved to Rome, Italy. Began a series of paper sculptures heavily-influenced by Arte Povera. Showed with La Medusa gallery. Two One-man shows and several group shows, 1972-1975.

1975: Moved to Kyoto, Japan at Daitokuji for study and practice of Zen Buddhism.

1976: Returned to Rome. Long period of sporadic artistic output while questioning the purpose of art production.

1978: Returned to New York. Unable to continue living from creative output, took a job at MoMA as a trainee mainframe computer operator. This would prepare me for the future. Returned to photography as my primary means of creative work.

1986: Introduced to the Macintosh computer. This would tie together the visual with practical. When Photoshop was introduced, took to it immediately and self-taught retouching and processing.

1991: While continuing as a photographer, began earning a living as a retoucher, utilizing Photoshop. This was at the dawn of the desktop revolution.

1993-2002: periodically showed at small, local galleries.

ONE MAN SHOWS:

2016 The Society Of Architects: “The Geometric Sky”

2011 Cathedral di Palermo

1995 “The Revisionist Imagist” Gallery Taranto, New York

1994 Edizione 900, Palermo

1987 Galleria Il Fotograma, Rome

1986 Vibeke Levy Fine Art, New York

1977 Galleria La Medusa, Rome

GROUP SHOWS:

1985 Vibeke Levy Fine Art. New York

1980 New York University, New York “American Vision”

1976 Galleria La Medusa, Rome “Artisti U.S.A. Oggi”

1975 Galleria La Medusa, Rome “Works On Paper”

PUBLICATION:

St Martins’ Press, Camera 35 (Feature Profile); Barron’s, Domus; New York Magazine; New York Times; The New York Daily News; Guitar World; Architectural Digest; Il Messaggero; Downbeat