As a performance artist during the mid 1970's, I delivered original text through recorded and live voice, and through slide projection (Aces And Eights,1974). I also used photographic slides in a visual narrative sequence, an inexpensive alternative to film. More to the point, I enjoyed communicating narrative events through the aggregation of still photographs. This allowed me to play with, and present individual moments (parts) as well as the narrative whole. This formal deconstruction gave me a better opportunity to present the audience with different perspectives and interpretive possibilities at the same time that I was presenting a linear narrative; still moments as well as the passage of time, memories coexisting simultaneously with current thoughts, progressing towards an unknown conclusion.

In Trifid Narrative (1976), I applied these concerns to the text and the overall structure of the performance, as well as to the narrative photographic sequences. Trifid Narrative was an internal narrative filled with descriptions of events, self-doubt and moral questioning, scored for three performers. Each performer spoke an intense and incomplete part of the whole, each performer became an external manifestation of an ethereal internal conflict. During the first two sections of the performance, each main character delivered his isolated part. In the third section, the two were joined by the narrator, and the three parts became one whole.  

See Videos for all three sections of Trifid Narrative (a rehearsal was taped by Babette Mangolte), as well as a slide show of still photographs from Aces and Eights.  There is also a short clip of from Yvonne Rainer's Film About a Woman Who..., and a 3 minute video of a segment of Trifid Narrative performed for a Cable TV program curated by Jean Dupuis.

In my early twenties, I made a decision to not actively pursue a career as an artist, and to keep the pressures of the Art Market away from my art making process.  

In order to support myself and to continue to be able to make art, I became a co-founding partner of Bark Frameworks, Inc. in March of 1975.  I remained a partner, shareholder, and in effect, a Chief Operating Officer until I sold my shares in the Company in March of 2003.  The heart of that Contract was a Non Compete Agreement that lasted approximately eight years.

After the NCA expired in 2011, I worked for Handmade Frames, Inc. through March of 2016, and then entered into a relationship with HMF as a Consultant, training design staff and taking care of clients I had known for more than 25 years. 

Not posted on this website are drawings and paintings I made during the 1980's, along with the script I wrote for Babette Mangolte's film The Cold Eye (My Darling Be Careful).  This film script contained sections of a performance script I had written in 1977-78, but never performed, titled My Darling Be Careful (Lovely Bodies).  

I have also not yet documented any artwork I have made since 2011, and have not uploaded any of those images onto my website.

Finally, in 2008 I became an activist in the fight to protect the Delaware River Basin from the threat of High Volume, Slick Water, Multi-Stage Hydraulic Fracturing and Horizontal Drilling into shale.  I joined the Steering Committee of Damascus Citizens for Sustainability with a personal focus on the Delaware River Basin Commission (DRBC).  My work as an activist was nearly all consuming emotionally through 2012.

As of 2019, shale gas extraction has still been kept out of the Delaware River Basin, and all four current Governors who make up 80% of the voting Commissioners of the DRBC have voiced their support for banning not only all high volume fracking, but also all industrial activities related to fracking (storage and treatment of waste, along with the taking of fresh water from the Basin for use in fracking in other parts of Pennsylvania).  There is currently a case in the Federal Courts as to the authority of the DRBC that has yet to be decided.

As to what is on the website...

Image Gallery 1 (Work: 1993-95)

In this sequence of photographic constructions, the larger B&W print could be seen as a representation of the original event and time.  The smaller sepia print might be construed as the memory of that event.  The resulting combination of the two prints might represent the discordant relationship between the past and one's memory of it.  Both prints are full frame, but the alignment of the smaller to the larger, and the difference between the sepia color and the B&W, show the inherent subjectivity and limitation with regard to the accuracy of memory. Approximately half of the constructions shown in this gallery are full frame

The other half of the constructions within this gallery show a more fragmented memory and focus on the past.  This narrower focus could bring one to the heart of the matter, or it could simply represent one's inability to grasp the whole.  

In all cases, the spatial dissonance and difference in color within these constructions comment on the questionable truth of our memory in relation to the event in the past.

Image Gallery 2 (Work: 1996-2000)

This second group of photographic constructions is titled Perceptual Continuum.  I carried two small point and shoot cameras of the same make, model, and lens, one loaded with Black and White film and the other with Color.  Shooting free hand, I would photograph a landscape with one  camera, then take the other one (I wore a fishing vest...) and relying on my eye and memory, try to duplicate the first shot.  I would then take the negatives to two labs for development.  After deciding what to have printed, I gave the same instructions to both labs.  I used two full size black and white prints as the base, while trimming the color print in half, then trimming more depending on what it took to align each section of the color print to each of the black and white prints.  The variations in each construction are a result of my eye, memory, the passage of time (the wind blows, clouds and branches move), and the lab's ability to follow instructions.  Each construction is a diptych.

Image Gallery 3 (Work: 2004-2007)

In 2003, I began a transition into digital photography. This technology made it easier to combine text with image. It allowed me to gracefully deconstruct a photograph into sections, then enlarge, print and reconstruct these parts into a transformed whole. Once I envisioned the process, it became a matter of learning how to successfully transition from a performance context that revealed itself over the course of time, to a static construction in which the viewer took on a more active role. It enabled me to present the viewer with multiple realities that shared the same image in the same moment. It made it possible for me to create a still performance.

In many of these photo based constructions, I used texts I had written in the 1970's as a source, especially "My Darling Be Careful And (Lovely Bodies)", and "Trifid Narrative". The short stories are often united with rural landscapes within an enveloping formal grid, and are spread out over the entire image, thus slowing down and distancing the viewer from the emotional impact of the text.

Image Gallery 4 (work 2007-2010)

In October of 2007, I began to photograph individuals who were sharing significant relationships, but instead of presenting them as a pair (couple), I wanted to see how their facial features compared when combined. I wanted them to inhabit each other's bodies to the fullest extent. Couples originate primarily through physical attraction. I was interested to see if and how this mutually chosen bond played out visually.

In 1974, I began to work with layers, whether through superimposition or juxtaposition, comparing subjective realities; seeing where they overlapped and where they did not. The structure of these live performances was always visible, and indeed, celebrated as an integral part of that exploration.

Likewise with these combined portraits, my goal is not to create a seamless third person from the two individuals. Where the individuals overlap may create the core of the combined portrait, but where they remain separate is equally as compelling to me. Indeed, the visual tension that exists where they do not overlap is perhaps an appropriate metaphor for the relationship.

After I added the video of Trifid Narrative to my website, it became clear to me that the series of self portraits, in which I combine myself with another person, is related to that performance from 1976.  These "Self Portraits with..." composite photographs, grew out of the couples work that I began in late 2007.