People tend to look at photographs too quickly, superficially.
They make assumptions of familiarity. I want to slow the
viewer down to appreciate in more detail the beauty of the
natural world. We see the world in pieces and put it together
in our imaginations— a new reality. Each time we look, the
fragments reconstitute themselves with subtle differences, a
second look nuanced with small changes. In this series, the
spaces between the image sections, like the leading in a stained
glass window, become an integral part of the composition.
I have printed these photographs with one of the oldest
photographic materials—platinum—for its extravagantly long
tonal range, depth, and permanence. The warm black, grey,
and brown tones of the photographs further abstract the image,
making it still easier to reconfigure the pieces and imagine the
whole. My subject matter, as always, comes mostly from my own
garden—I can wander out of my garage darkroom directly into
my garden to sit among the roses, peonies, grasses, dogwood,
rhododendrons, and iris while waiting for a fifteen minute platinum
exposure—a meditation that is reassuring and inspiring.
The embossed design at the lower right of each photograph com-
bines an image of the camera lens diaphragm and a flower blossom.