I sat on the bed and placed a canvas on the windowsill and made my first painting in America. My earliest paintings in New York, were kind of the extension of what I was doing in Tokyo, but with limited material: one small brush and five tubes of cheap oil paint. From there, over a […]

Every photographer I know, at some point in their career, has studied Walker Evans’ photographs of Hale County, Alabama made during the Great Depression. Before I made photographs, I looked to his with an almost mystical wonder and curiosity. The photographs endure as the pinnacle of what photography can and should be, as Evans himself […]

During this period, 1995 to 2000, that I created “Outland,” my work gradually shifted from documenting the world to transforming it through the camera and the deeper parts of my mind. At the same time I began to view myself as an artist/photographer rather than a photographer. The photographs came about as a result of […]

I have always been concerned with meaning, allusion and narrative – something outside “pure” painterly concerns. Barnett Newman made great “pure” paintings, but I have always felt that I was made of baser clay. I want to tell a story, even if that story is cryptic or fragmentary. Prior to 2011, the focus of my […]

I begin thinking about a site-responsive installation in terms of delineating discrete areas of sculptural marks hewing closely to the walls. These zones are constructed with simple synthetic materials—mosquito netting, fishing line, plastic tarps—that give my vocabulary physicality, but don’t weigh it down. Materials that can be manipulated into varied configurations help me navigate and […]

“I had a break-through in my painting when I began thinking metaphorically. It started with a vein in a forehead, then the realization that everything could be vascular. So tendrils of hair became capillary, as did tendrils of light, stripes in a shirt were arterial, a scrunchie hairband a thrombosis. This was a key for […]