When I began this project, the extent of my photographic skills was limited to shooting slides as required by art schools and galleries. After graduate school, this neutral and utilitarian craft was an attractive refuge from my unresolved efforts as a painter.

One of my earliest and most critical influences was an unusual series of snapshots I found in 1992. These were all taken by an unknown photographer and were of assemblages made using combinations of miscellaneous materials. The curious power these photos possessed was rooted more in what they depicted than how they were photographed, which was strictly utilitarian. Their effect lingered, but did not manifest itself in my work until several years later.

Although primarily confined to objects shot in a studio setting against neutral backgrounds, I also began experimenting with outdoor photographs of architectural and organic subjects. Initially these were intended to be used in a series of juxtapositions I had envisioned executing with Adobe Photoshop, but after abandoning this endeavor, I found new significance in the preliminary images that had accumulated. Despite my initial consternation over their relationship to this project,I continued shooting outdoor subjects ranging from new houses to studies of lawns.

Finally,it was this series, shot with an inexpensive 4.0 megapixel camera during a time when all of my studio photographs were still being shot with analog film, that most lucidly confirmed the necessity of incorporating the exterior subject matter into the project and making it coherent with the studio photographs.

Click on the years on the left to view selections from the phases this project has seen thus far.