City Meets Sea
As a photographer, particularly a long-exposure photographer, I’m interested in the essence of a place – the signature – which emerges when the surface ephemera give way to the underlying structure.
In cities like New York – cluttered with people, buildings and things – the horizon is obscured. The periphery reveals the horizon, and like a cross-cut section, the nature of the ground on which the city is built.
These images are portraits of the periphery. During exposures of several minutes to several hours (often overnight), what’s fleeting escapes the lens; what’s fundamental bores into the image. Much as a painter manipulates paint, I exploit the physical properties of film to tease out the subtle beauty of place.
Like portraits of people, these images are an exploration of the spaces' essence, discrete vocabulary, mannerisms, structures, shapes, colors, climates and stories told by the elements left behind: failed piers, jetties, efforts to manage the transitions between land and water. They are also a celebration of the beautiful surprises found within the city limits at the water’s edge.
City Meets Sea
Ten years ago, I became curious about where one can find the horizon in New York City: it’s always obscured by people, places, things.
Map in hand, I sought answers to what lay at the intersection of the blue and green regions. After some time shooting, I realized that Jamaica Bay consistently whispered to me, and I opted to focus here.
This series, shot with sheet film on a large-format pinhole camera, has become increasingly minimal over the years. The process is slow: long exposures are required, which means that that which is fleeting leaves at best a ghostly trace on the film, if present at all; by contrast that which is permanent creates the image. What’s left are long periods of time compressed into a single, meditative frame. When possible, I produce these human-size to consume peripheral vision, so the viewer sink into the space.