In the three photographic works entitled “Rotations” I’m returning to the analog (darkroom printed) color photograph. These multi-image structures have been created so that the viewing experience alludes to a brief moment of time. This work, a nod to the kinetics of experimental film, partly springs from my forays into digital film animation, but is also a new iteration of my ongoing interest in time, structure and a playful dissection of the act of looking itself.

The individual photographs structured into these installations combine a projected negative and a photogram. This is a two-step process effected in complete darkness with negatives, clear plates and bowls. I’ve applied this technique, quite specifically, to create circular images that float within a black field with a light ‘halo’ around the perimeter.

Photography, whether moving or still, inevitably leads to issues of perception. While we use a variety of devices to frame or study an object, the act of looking –eye movements- can be broken down into the intentional and the random. There is always surplus information that is tangential, unseen, rejected. My “Rotations” series gives equal weight to what might be considered a ‘subject’ and the visual information that could be deemed peripheral to the subject. With the ‘circular’ image I allude to the eye, as well as the focusing use of a spying device (peep holes, telescopes, cameras, etc.) I’m after a visual flow that that is both centering and expansive; I’m including the ‘outake’ if you will.” Ultimately I celebrate the ‘kinetic essence’ of film using an outdated printing process that allows only one frame at a time.