When I came to Boston it was a black and white town, with a tint of brick. Color photography remained suspect, if yet to be considered art. But Paul Simon had his Kodachrome and so did I. Only recently have new pigment printers been able to express the subtlety of its colors with computer control beyond the imagination of that former wet darkroom. In the new Boston Color series, expressive neutrals, richly warm pastels, truth in earth tones, bright reds, varietal greens, shaping blues contribute to become these colors of memory.
The Crappy Negatives series utilizes scratched and neglected film, and a cheap lo res scanner to set the motif for creative resurrection of the decades old B&W archive. Pushing pixels here sometimes can feel a bit like painting Mudhead portraits on a Provincetown beach early in the 20th Century.
The Reimagine New England suite is comprised of 48 large archival pigment prints each with an original poem printed on the interleaf vellum. For me the challenge is to find in our perceptions of the past the enduring presence of this place and moment, of a future becoming. The effort of words and pictures is that they would empower each other.