Point of Impact

Pigment ink prints on archival paper
13x13" each
Edition of 3
2004

Exhibited at:
“Torrid” juried exhibition, Sharadin Art Gallery, Kutztown, PA
“post_space” solo exhibition, Conant Gallery, Groton, MA.














Everything Is In the Hands of God
Pigment ink prints on archival paper
24x36" each
Edition of 3 plus artist proof
2008

Exhibited at:
“post_space” solo exhibition, Conant Gallery, Groton, MA.


"Everything is in the hands of God."
- Bikinian Leader Jude to U.S. Commodore Ben Wyatt, 1946

In the summer of 1946 a number of decommissioned US ships sat in the water of the Bikini Atol. As part of “Operation Crossroads,” the ships were placed there for the purpose of researching the effects of nuclear weapons on naval vessels. One of these ships, the USS Saratoga, survived its first test -- an air burst explosion on July 1, 1946 -- with minor damage. A second test -- an undersea blast -- sunk the ship on July 25, 1946. The radioactive contamination of the ships in “Operation Crossroads” was severe, hampering underwater research or salvage for years.

In the summer of 2008 a roll of film claimed from the sunken wreckage of the USS Saratoga by a recreational diver was listed on eBay. The roll, 116mm film from what is assumed to be a Kodak Brownie camera, was ruined beyond processing -- with the exception of six images. These images show ships, water, and abstract frames of light. It is believed that an unknown stowaway boarded the USS Saratoga on or before July 25, 1946. The six images are the collected fragments of his last hours.












The Unaccomplished

Pigment ink prints on archival paper
30x40" each
Edition of 5 plus artist proof
2010


















Ghosts

Pigment ink prints on Hahnemühle Photo Rag
30x40" each
Edition of 5
2011

Found images of ghosts with descriptive text provided by the photographer (or someone with knowledge of the photo). In an attempt to remove image noise, the photographs were repeatedly blurred by a Gaussian function until their most basic elements were left, revealing the visual essences of the ghosts.

"I found it interesting to not only further abstract what were, in most cases, already very vague images of apparitions, orbs, and lights, but to combine those abstracted images with the text as supplied by the photographer (or someone with knowledge of the photo). In a way, the text is both a necessary element to provide a context to these formless fields of color, and also an interesting gauge of how we look at and contextualize the unknown (the text from one photo reads: "This was taken at Barnsley Gardens in Georgia last April 2007. There was nothing in this room to cause this orb/ectoplasm to be in this photo. This is incredible and probably the single most amazing ghost pic I've ever seen, let alone taken.")..."




low_resolution_wormhole

Laser print on paper
11x8.5"
Edition of 5
2012

Exhibited at:
“PAPERWORKS” invitational exhibition, FICTILIS, Oakland, CA.
“COLLISION20” juried exhibition, Boston Cyberarts Gallery, Boston, MA.




Able Was I Ere I Saw Alba

Pigment ink print on archival paper
24x24"
Edition of 3
2013


Alba was the name of a genetically modified "glowing" rabbit created as an artistic work by artist Eduardo Kac, produced in collaboration with French geneticist Louis-Marie Houdebine. Houdebine used a gene found in the jellyfish Aequorea victoria that fluoresces green when exposed to blue light. When Alba was exposed to such light, she too would glow green.

"Able was I, ere I saw Elba" is a well-known palindrome often attributed to the French leader Napoleon Bonaparte, who was once exiled to the island of Elba. More likely the palindrome was created in 1848 by someone with the initials J.T.R and residing in Baltimore, Maryland.






















thomas331
Pigment ink prints on archival paper
8x10" and 11x17" each
Edition of 3
2014




Untitled (Wooded Landscape with Road)
Pigment ink print on Hahnemühle Photo Rag
30x24"
2016



Untitled (Buildings On A River)

Pigment ink print on Hahnemühle Photo Rag
24x54"
2016



Untitled (Early Winter Landscape)
Pigment ink print on Hahnemühle Photo Rag
36x24"
2016



Untitled (Road with Trees and Clouds)
Pigment ink print on Hahnemühle Photo Rag
24x24"
2016



Untitled (Road to a Village)
Pigment ink print on Hahnemühle Photo Rag
24x30"
2016



Untitled (Landscape with Field)
Pigment ink print on Hahnemühle Photo Rag
24x48"
2016




Reflexive Futuretelling (Reflexive Futuretelling)
Pigment ink print on Hahnemühle Photo Rag
24x24"
2016




Reflexive Futuretelling (Audrey)
Pigment ink print on Hahnemühle Photo Rag
24x24"
2016



Reflexive Futuretelling (Shota Rustaveli)
Pigment ink print on Hahnemühle Photo Rag
24x24"
2016



Reflexive Futuretelling (Pikachu)
Pigment ink print on Hahnemühle Photo Rag
24x24"
2016



Reflexive Futuretelling (nameP)
Pigment ink print on Hahnemühle Photo Rag
24x24"
2016



Reflexive Futuretelling (Jake Adventure Time)
Pigment ink print on Hahnemühle Photo Rag
24x24"
2016












Rumors Thereof Have Reached Us
Pigment ink prints on Hahnemühle Photo Rag
24x36" each
Edition of 3
2017












swmpHse

Pigment ink prints on archival paper
13x19" each (unframed dimension)
Edition of 5
2017










(U)LFFTR

Pigment ink prints on Hahnemühle Photo Rag
12x18" each
Edition of 3
2017

"As a child, she had never once imagined her room as someone else's room before it was hers, but of course it was it was exactly that: it was a space, and over time you and others passed through it."
- Jonathan Dee, "The Locals"