"As a photographer I am interested in people, places, and things. These interests did not change with the pandemic and sequestration, but the opportunity to pursue them did. The people I was sequestered with were not all that eager to be photographed over and over again, and the places I was sequestered in tended to be private rather than public. As a photographer trying to stay photographically fit, I was obliged to rely almost exclusively on "things" as subjects - on still lifes."
"The still-life genre is one I have always been interested in but had not spent much time exploring. With the Covid shutdown, I started to take a more attentive look. I began with a carefully edited inventory of household goods - a pitcher, a coffee mug, a magnifying glass - then moved on to something a bit more "abstract": a study of forms - the ball, the cylinder, and the cube. I have continued to make sporadic visits to the genre ever since."
Photographer shifted focus during pandemic seclusion to still-life subjects because people and places were unavailable. Sequestration limited access to willing models and public locations, so still lifes of household items became primary practice. Work began with an edited inventory—pitcher, coffee mug, magnifying glass—then moved to abstract studies of basic forms: ball, cylinder, cube. Sporadic visits to the genre continued and were archived under the title "Miscellaneous." Within that archive, a subset of objects emerged: industrial items related to art's readymade. Those industrials function as prefabricated, found objects whose context alters meaning.
Read at Oregon ArtsWatch * Arts & Culture News
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