"A human being is part of a whole…universe, a part limited in time and space. He experiences himself, his thoughts and feelings, as something separate from the rest—a kind of optical delusion of his consciousness.”

-Albert Einstein 



The Buddhist conception of the Universe is illustrated as “Indra’s Net”an endless net expanding in all directions, through all dimensions. At each thread’s intersection lies a single jewel. Each jewel holds a perfect, infinitely receding reflection of all other jewels and the net itself. This metaphor describes all existence as interpenetrating, all phenomena as interdependent, and perfection as an attribute of emptiness.   

I see this metaphor revealed in natural phenomena, in time and light, in persistent or recurring processes, in emergence, metamorphosis and fruition. My series Indra’s Net consists of discrete groups (and sequences) of images that visually represent these abstract concepts.

FLOCKING documents a moment of chaos turned poetic where thousands of starlings rise from a cornfield.

TREES FOR MY FATHER, DYING is a sequence of images whose subject fades into light. Made in the days following my father’s death, these long exposures of trees negate their solid form and characterize the impermanence shared by all natural phenomena. 

PHOTOSYNTHESIZE is a group of 8 images representing the visual outcome of pointing a particular Polaroid camera toward the sun. I discovered it while documenting Christian Pilgrims during the 1990’s. They perceived the images as miracles, and called them the “Door to Heaven.” I was merely struck by the beauty and formal qualities of the unique photographic apparition. I used the camera to recreate the phenomenal interaction between its aperture, direct sunlight, and the photographic material itself, capturing the resonance between natural phenomena and the nature of photography.

Process Statement:

The images in Indra’s Net are captured using a variety of cameras from pinhole to plastic to DSLR, as well as using camera-less means. Some derive from scanned negatives or traditional darkroom photograms. They are printed on fine art papers using archival pigment inks. These processes enable me to print with a range of archival materials through which I control fine detail, tint, tone and texture, producing images perfectly representative of my conceptual and aesthetic vision.