“On the Edge” about the purity of line. The words inside the book can take us to fantastical places, teach us new things, and make us laugh and cry. This series digitally captures the book from another angle, the edge. What does it tell us?

Modern technology is built with some sense of planned obsolescence. In your garage, basement, and junk drawer sits the old bicycles, air conditioning units, phones, TV’s and VCR’s never to be heard from again.  What was once “new” is now old and destine for the graveyard, or in this case, the Howard County landfill.

 In the series, “Cybercloud”, I photographed the literal: power line towers, telephone poles, and wires - some of the infrastructure that could be used to carry out a cyber threat.  Then, I filled the space in and around the structures with digitally manipulated clouds, which I use to represent the kinds of cyber-risks that occur in a wireless environment. By presenting this cloud imagery outside the constraints of the wires/structures, I’m suggesting that cyber-threats to our security can come from anywhere and within. 

My photography has always been abstract in nature, heavily layered and manipulated.  Recently, I began stripping away the layers while trying to stay true to my vision.

Light Painting is an exploration of the interplay between photographic shape, light, texture, and the computer. These images represent my initial exploration with the "painting with photography" technique. My initial goal was to create my own visual language which would be left to the viewer to interpret.

Inspired by Antoni Gaudi­'s mosaics that I saw while on vacation in Barcelona, Spain, I used his textures to create these layered photographs. Upon returning to Baltimore, I searched out additional mosaics I could photograph and manipulate in similar ways. I found beautiful examples at the American Visionary Arts Museum, the Antioch collection at the BMA, and on the art cars at Artscape.

This series of photographs blends three (or more) distinct layers: an abstraction, water, and blurred light streaks. Sometimes one layer is more prominate. The blending, or montage, is what makes the image whole. My objective is to "paint" with photography. In a sense, this body of work is a throwback to some of the spontaneous creation ideas of the American Abstract Expressionist painters of the mid-20th century with a 21st century digital spin.

This series of photographs blends three (or more) distinct layers: an abstraction, water, and blurred light streaks. Sometimes one layer is more prominate. The blending, or montage, is what makes the image whole. My objective is to "paint" with photography. In a sense, this body of work is a throwback to some of the spontaneous creation ideas of the American Abstract Expressionist painters of the mid-20th century with a 21st century digital spin.

My video work stems from the same principles as my photography.  I use the camera like a painter would, moving it, capturing light and shape.  I take those layers, combine them, adding and subtracting, and blending.  Then edit pieces of them in a rhythmic pattern.

Recently, I've been applying the stylistic elements I've used in both photography and video to Virtual Reality.  Meridan:360 is a 360/180 exploration of the seasons.  Must be viewed with a phone/tablet in the Vimeo app. https://vimeo.com/226011235 or on YouTube https://www.youtube.com/watch?v=2XyiK1BhASk.