P h o t o g r a p h y My training and practice in representational lighting and scenic design paved the way for my return and ascension into photography where my sense of poetics and composition stem from a theatrical sensibility; which in turn makes my perception of the camera's viewfinder to be that of a proscenium arch. My vantage point is usually that of a front and center position almost nickelodeon perspective rarely angling or vertical. Darkroom techniques and projects have also been adapted from my experiences implementing the rhythmic movement and distribution of light across a sequence of predetermined time as well as the use of various filters and accessories that shape and define illumination. Subject matter is fairly eclectic based on mind set and happenstance yet all my images adhere to a specific set of ground rules emphasizing geometry of a space, a particular range in tone both color and black and white and most notably a strong presence and directionality of light. I am an urban native with a definative New Yorker's point of view but have spent much of my life retreating to rural and desolate settings making me just as adept off road as I am in the subway. Of late my portfolio seems to be somewhat portrait dominated based on interactions with my students, some years living on the road with jazz musicians and time spent on the farm. However, when wandering, my still life images reflect my peaceful yet misanthropic nature tending to be more somber and sparse, quiet, small and common; usually devoid of people.    P a i n t i n g As a painter I have always worked unwittingly polar opposite to my objective photographic p.o.v. resulting in reactionary and improvisational arrays of color and reliance on rudimentary forms. Throughout this endeavor I have discovered much about my perceptions and abilities, or lack thereof, to translate visual information. A life long academic underachiever for similar reasons of misinterpreting and processing certain stimuli I allow my compulsions and fixations carte blanche questioning and discovering my motives only after the fact. Earlier methods drew directly from the palette of my photographs that were distorted digitally, transferred onto paper and painted over; however, subsequent pieces quickly became free hand and spontaneous. The implementation of basic geometric shapes establishes rigid boundaries frozen harmoniously in elemental material that is itself contained within a larger unit of measurement. The layout is asymmetrically ordered pieces of a puzzle long forgotten and existing within are vibrant uniformed families of color reflecting an attempt to categorize, compartmentalize and make sense of a not always understood world.