One Eyeland 2015 Award winner
PHOTOGRAPHER OF THE YEAR - NATURE - GOLD
I studied visual anthropology, but worked professionally as a software engineer in Silicon Valley for many years. Recently I have returned to my vocation in the visual arts. Always interested in other cultures and novel experiences, I have been fortunate enough to live for several years in St. Petersburg, Russia, Rio de Janeiro, and I now live in Sao Paulo, Brazil.
Filmmakers, painters and musicians have influenced my visual sense more than other photographers. The films of German Expressionists, Andrei Tarkovsky, Herzog, Scorsese, Terry Gilliam, the Coen Brothers, the paintings of El Greco, Kandinsky, Chagall, and Klee, the sculpture of Brancusi and etchings of Dürer and Escher. I have also been strongly influenced by musicians such as Sun Ra, Jorge Ben Jor, and Wim Mertens. In particular, Sun Ra's approach to art, his self-confident, genre blending, melange of music, imagery and words is inspirational. Sun Ra was a non-stop "carnival", a semantic jester genius, clever, irreverent, always playing with symbols, inverting meanings and challenging assumptions. Along with these artistic influences, anthropology continues to be my intellectual lodestone. Current interests include semiotics, mythology, historical linguistics, metamodernism, evolutionary biology, and futures studies. Literary influences include Philip K. Dick, Jorge Luis Borges, Neal Stephenson, I.B. Singer.
Filmmaker Werner Herzog says an artist must use any means necessary to reach “the ecstatic truth,” a knowing mix of truth and lies that gets at the emotional core of a chosen subject more accurately than a simple “accountant’s truth”. This attitude underlies my approach to photography, or more precisely digital art. The photograph is just the beginning of the process, it's the raw digital information that can then be pushed and pulled, inverted and subverted, and ultimately transformed into a new entity, imbued with its own novel symbolic force.. This approach underlies all of my work but is most evident in my treatment of Brazilian carnival. In this process, which I call “Fauvetography” because of its emphasis on expansive colorations, the original photographs are building blocks, fragments of visual experience that can be digitally combined in a sort of photographic bricolage.
I hope you find this work of interest, comments and questions are welcome and appreciated.