Archival Pigment Print

Archival Pigment Print

Archival Pigment Print

Archival Pigment Print

Archival Pigment Print

Archival Pigment Print

Archival Pigment Print

Archival Pigment Print

Archival Pigment Print

Archival Pigment Print

Archival Pigment Print

Archival Inkjet Print, 2021, Reykjavik, Iceland

Archival Pigment Print

Archival Inkjet Print, 2021, Iceland

Archival Pigment Print

Archival Inkjet Print, 2021, Jokulsalon Glacier Lagoon, Iceland

Archival Ink Jet Print, 2021, Snaefellsjokull National Park, Iceland

Archival Pigment Print

Archival Ink Jet Print, 2021, Snaefellsjokull National Park, Iceland

Archival Pigment Print

Archival Pigment Print, 2018 Gunpowder Fall State Park, Hereford, MD

Archival Pigment Print, 2018 Prettyboy Reservoir, Northwestern Baltimore County, Md

Archival Pigment Print, 2018 Prettyboy Reservoir, Northwestern Baltimore County, Md

Archival Pigment Print, 2018 Prettyboy Reservoir, Northwestern Baltimore County, Md

Archival Pigment Print, 2018 Prettyboy Reservoir, Northwestern Baltimore County, Md

Archival Pigment Print, 2018 Prettyboy Reservoir, Northwestern Baltimore County, Md

Archival Pigment Print, 2018 Fort Howard Park, Fort Howard, MD

Archival Pigment Print, 2018 C and O Canal, Knoxville, Md

Archival Pigment Print, 2018 Gunpowder Falls State Park, Hereford, MD

Archival Pigment Print, 2018 Lawrence Irvine's Swamp, Charles County, MD

Archival Pigment Print, 2017

Archival Pigment Print, 2016

Archival Pigment Print, 2016

Archival Pigment Print, 2016

Archival Pigment Print, 2016

Archival Pigment Print, 2016

Archival Pigment Print, 2017

Archival Pigment Print, 2017

Archival Pigment Print, 2016

Archival Pigment Print, 2016

Archival Pigment Print. Baltimore City. 2017

Archival Pigment Print. Image captured at the base of Calvert Cliffs, Maryland. 2017

Archival Pigment Print. Surface of a lotus leaf and water. 2017

Archival Pigment Print. Plant decay in the Berkshires Mountains. 2017

Archival Pigment Print. Surface of lotus leaf with water droplets. Southern Maryland. 2017

Archival Pigment Print. Decaying plant matter on the Appalachian Trail. Annapolis Rocks, Maryland. 2017

Archival Pigment Print. Plant decay in the Berkshires Mountains. 2017

Archival Pigment Print. Decaying lotus leaf with water droplets. 2017

Archival Pigment Print. South Rim at the Grand Canyon, Arizona.

Archival Pigment Print. Decaying lotus leaf with water. Southern Maryland. 2017

Archival Pigment Print. Mounted on Sintra. 48" x 36" Limited Edition: 1/5. 2015 Leaf in a puddle. Decayed plant matter created cracked skin layer and rainbow effect. Patapsco State Park, Md.

Archival Pigment Print. Mounted on Sintra. 48" x 36" Limited Edition: 1/5. 2015 Lichen, Moss, and Seeds on rock at Gun Power Falls St. Park, Md.

Archival Pigment Print. Mounted on Sintra. 48" x 36" Limited Edition: 1/5. 2015

Archival Pigment Print. Mounted on Sintra. 48" x 36" Limited Edition: 1/5. 2015

Archival Pigment Print. Mounted on Sintra. 48" x 36" Limited Edition: 1/5. 2015

Archival Pigment Print. Mounted on Sintra. 48" x 36" Limited Edition: 1/5. 2015 Ice, gravel, and reflections on edge of river. Gunpowder St. Park

Stevenson University Installation Image. 2015 Left: Ice Sprite #3 Right: Prana

Archival Pigment Print. Mounted on Sintra. 48" x 36" Limited Edition: 1/5. 2015

Stevenson University Installation Image. 2015 Left to right: Kami # 2, Kami, and Tree Wrinkle

Stevenson University Installation Image. 2015 Left Wall: Kami #2, Kami and Tree Wrinkle. Right Wall: Ice Sprite, Presence, and Bog Sprite.

Archival Pigment Print. Mounted on Sintra. 48" x 36" Limited Edition: 1/5. 2015

Stevenson University Installation Image. 2015 Left wall: Presence and Bog Sprite. Right Wall: Ice Sprite 3, Prana, and Fire King,

Stevenson University Installation Image. 2015 Left to right: Rock Sprite# 3, Skadi, and Preta

Archival Pigment Print. Mounted on Sintra. 48" x 36" Limited Edition: 1/5. 2015 Gunpowder St. Park.

Stevenson University Installation Image. 2015 Left to right: Ice Sprite # 3, Prana, Fire King, and Ice Sprite #2

Archival Pigment Print. Mounted on Sintra. 48" x 36" Limited Edition: 1/5. 2015

Archival Pigment Print. Mounted on Sintra. 48" x 36" Limited Edition: 1/5. 2015 Leaf in a bog. Decayed plant matter created cracked skin layer and rainbow effect. Swallow Fall's, Vermont.

Archival Pigment Print. Mounted on Sintra. 48" x 36" Limited Edition: 1/5. 2015 Gunpowder St. Park

Archival Pigment Print. Mounted on Sintra. 48" x 36" Limited Edition: 1/5. 2015 Gun Power Falls St. Park, Md.

Archival Pigment Print. Mounted on Sintra. 48" x 36" Limited Edition: 1/5. 2015 Lichen on rock. Harper's Ferry, Md.

17" by 22" archival inkjet print Toilet Paper in an alley way street in Fell's Point, Baltimore MD. Homeless people frequently relieve themselves in this area. The toilet paper resembles a "street ghost" with a etherial presence. Yet, it is most likely a left over toilet implement left by a suffering Baltimore resident...

44' by 56' archival inkjet print Broadway gas slick.

17" by 22" archival Inkjet Print Broken wine bottle and vomit on Register Street.

44" by 56" archival Ink Jet Print Homeless Person's blanket in the rain.

17' by 22' archival inkjet print Gas and tree polen mix in a gutter puddle on Register Street.

17" by 22" archival inkjet print Frozen Patapsco river with oil slick, and sun set reflection at Center Dock Marina a.k.a. Living Classrooms Foundation.

17' by 22' archival inkjet print Gas, reflections, and puddle mix in gutter on Register Street.

44" by 56" archival inkjet print Gutter puddle reflection with yellow tree pollen on Register Street.

44" by 56" archival inkjet print In this piece, for example, an unrelated image was made to resemble a colorful and abstract rocky landscape with a figure standing in the picture. An imaginary reddish and blue sky appears part of a brewing storm or sunset and, upon closer inspection, the viewer can see numerous faces and designs created within the fictitious sky. I actually discovered this scene on the cement, next to the back door of a restaurant that smelled like cooking grease, so I assumed that it was cooking oil dumped into the alley street. I bent down and positioned the camera close to the subject in order to capture the reflections of the blue sky on the surface of the cooking oil. When I observed this leftover cooking material in the alleyway, dripping into the gutter, I saw it through my creative mind. I was transported to another place, where I saw a beautiful landscape in this undesirable environment.

44" by 56" archival inkjet print This image was captured on the surface of Broadway near Aliceanna street after a rain shower. Automobiles leak oil or gas onto the street while waiting for traffic lights and, when the road is dry, the fuel spills are not noticeable. During and after a rain shower, however, the oil mixes with the water and to create a rainbow effect. This particular oil rainbow reminded me of images of exploding stars from the Hubble telescope, and created the illusion of organic life forms that had been sprouted from the asphalt. I interpreted this scene in two ways. My first interpretation was that the image reminded me of major environmental disasters caused by petrol fuel in the Gulf of Mexico and elsewhere. Our modern existence in the U.S. and abroad relies on oil and without it, out civilization would come to a halt. We would be simplified into an existence similar to that of the third world, with mass starvation and electrical blackouts producing an apocalyptic situation. It takes enormous amounts of oil to keep America’s heart beating, and it seems that oil has become the blood of the modern world. My second interpretation of the oil spill was that it evoked a beautiful cosmic rainbow-flower on the street. The oil stain reflects time, reminiscent of an era millions of years before humans walked the earth. It invokes thoughts of dinosaurs and ancient fauna, and is a reminder of our mortality, not as individuals but as a human race. Rainbows created by oil stains on the street are reminiscent of life forms. Rainbows are symbolic of spiritual powers in the Tibetan Buddhist tradition. Rainbows remind me that everything has an expiration date.

Angelic and Demonic figures made of clay.

I created the absurd as a means of creating a dialoge between world religions. The use of cardboard in The Church Box represents the disposable nature of contemporary society. Our culture is saturated with cardboard boxes that are used to contain new products, trash, and old memories. Cardboard is a sign of our times. Moreover, the box itself is a model for the cinema of religious discourse – it can be convincing and simultaneously entertaining. Inside The Church Box, a fictitious preacher delivers his sermon from a flat-screened television. The figures in the audience are made of Sculpey and are painted grey.

Cardboard, clay, and video. I created the absurd as a means of creating a dialoge between world religions. The use of cardboard in The Church Box represents the disposable nature of contemporary society. Our culture is saturated with cardboard boxes that are used to contain new products, trash, and old memories. Cardboard is a sign of our times. Moreover, the box itself is a model for the cinema of religious discourse – it can be convincing and simultaneously entertaining. Inside The Church Box, a fictitious preacher delivers his sermon from a flat-screened television. The figures in the audience are made of Sculpey and are painted grey. The color symbolizes uncertainty—the so-called ‘grey area.’ It also symbolizes ashes, which are useless remnants of fire. The figures represent various individuals inspired by world religions, including the Hindu god Ganesha, Buddha, the Christian and Islamic Devil, angels, and various other men, women, and children. In Church Box, I assumed the identity of the crazed, fanatical preacher. I have been fascinated by the physiological power that individuals can assume over the masses. Kings, dictators, and priests alike have been able to connect to the internal fabric of the human psyche and make the masses commit horrendous acts – acts that should be perceived as sinful become transformed into acts of ‘divine inspiration.’ These passionate acts of brainwashing performed by religious figures throughout time and histor

Video still of Box of Mirrors (inside of shack) Time Based Media Device, Cardboard, and Mirrors

Participant inside the Shack looks into the torn out hole on surface of box. Looking through the hole, the viewer sees multiple reflections of a small video device playing inside. The video dialog relates to environmental and psychological issues.

Ink Jet Prints, Cardboard, Mirrors, flash lights and, Time Based Media Device. The photographs placed within the shack are part of a series of images of floating trash, pollution, dead and living creatures, and various other details of the corroded Baltimore waterfront. These images were created over a four-year period of continuous observation. Additionally, my voice in the box of mirrors makes reference to the images that are placed within the cardboard walls. This relationship reflects a dualistic approach to looking within in order to understand outside phenomena. The observer becoming the participant, being physically present within the shack, further enhances this symbiotic association.

Installation View

Ink Jet Prints, Cardboard, Mirrors, flash lights and, Time Based Media Device. The photographs placed within the shack are part of a series of images of floating trash, pollution, dead and living creatures, and various other details of the corroded Baltimore waterfront. These images were created over a four-year period of continuous observation. Additionally, my voice in the box of mirrors makes reference to the images that are placed within the cardboard walls. This relationship reflects a dualistic approach to looking within in order to understand outside phenomena. The observer becoming the participant, being physically present within the shack, further enhances this symbiotic association.

The shack was inspired by old memories and new ideas. As a child, I saw different types of shelters made for sleeping and for living on the edges of Baltimore’s waterfront, back alleys, and abandoned buildings. The majority of people living in these structures were mentally ill or suffering from substance abuse. The dwellings often stank of urine and trash and the shelters reflected immense suffering, but through the eyes of my childhood, these places were mystical locations. The shack reflects my multifaceted perceptions of pollution, death, life, destruction, and creation within a post-industrial world. Oil spills, dead fish, and human suffering are terrible subjects, yet when perceived out of context—in my photographs—they assume new realities. When I view these realities as only shapes, colors, and patterns, I am amazed, but after I contextualize this magical glimpse of shapes, colors, and patterns, it becomes a conceptual awareness and my perception becomes more sobering. In other words, I perceive a stimulus from opposing viewpoints – my first perception of an oil spill may be of a beautiful rainbow floating on the surface on what appears to be a moving mirror, while my second interpretation may be of a horrible and ugly pollutant that will kill hundreds of fish. I see beauty in ugly things, but also see ugly things in beauty. The shack reflects my search for enlightenment in a troubled world. It speaks to my quest for insights that last for only a few minutes. It is a structure that reflects relationships between mental illness and enlightenment along the polluted post-industrial Patapsco River. It is a shelter from the elements, yet it incorporates documentation of the outside world. It incorporates discarded materials found in urban areas to symbolize the modern consumer and the disposable nature of society. Cardboard is a transient substance that can be used to contain, carry, and store old memories. This intimate place provides the viewer with an environment in which to view image after image of pollution, death, and urban decay. On one hand, it is a structure resembling homelessness and urban plight, while on the other hand, it is a sanctuary for inner reflection. A smaller cardboard box with pieces of broken mirrors resides inside The Shack, which suggests a deeper meaning. The broken mirrors reflect a small video of me reciting a dialogue about pollution, death, homelessness, and a corrosive urban environment. A small hole is torn out of the box so that the viewer can see multiple images of my talking face. The many, reflected images represent observations of thoughts and perceptions conceived from different viewpoints. It also represents an internal dialogue that is constantly analyzing reality. The repetitive dialogue in the box of mirrors reflects my perspective of reality – I think that things that are ugly can in the same moment become beautiful. This dialogue becomes an internal argument, and each perceptual viewpoint battles to be the true vision of reality. The photographs placed within the shack are part of a series of images of floating trash, pollution, dead and living creatures, and various other details of the corroded Baltimore waterfront. These images were created over a four-year period of continuous observation. Additionally, my voice in the box of mirrors makes reference to the images that are placed within the cardboard walls. This relationship reflects a dualistic approach to looking within in order to understand outside phenomena. The observer becoming the participant, being physically present within the shack, further enhances this symbiotic association.

Overview of Cardboard Bodhi installation: showing examples of videos, digital photography, sculpture, and installation pieces created with cardboard, clay, inkjet prints, and digital media devices.