I have become ever-conscious of the earth and its inhabitants. For over 20 years I have had my eye on nature in particular-- initially on its beauty and complexity. I made composite landscapes by moving my camera over time and space one frame at a time. These "extended" photographs assumed unexpected shapes.

Since the year 2000, after a trip to a Costa Rican cloud forest, my sense of nature's fragility and resilience in the face of massive human assault became pre-eminent.

Back home, I began building composite portraits of trees. The trees of New York City became my obsession. Playing on the camera's distortion of perspective, I was able to make the trees look solid and stable while the buildings began to tip and bend. This was my reality: My faith in the built environment had lessened while my confidence in the natural world grew.

Repeated trips to Costa Rica allowed me to look at the forest trees and the isolated survivors of rain forest destruction using this same composite approach.

In the fall of 2006, I began studying dying wild flowers in a vase on my work table. A macro lens opened up a new world. Watching the flowers' gradual death gave me an intimate awareness of the singular existence of each flower as it dried and faded.

I am nourished by work that allows me to connect so deeply with nature.




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