Statement / Milori Blue
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I now find myself obsessed with my studio floor. I work in what used to be a train factory in the outskirts of Boston, and I don’t think my floor has been painted in many years. I have recently been photographing paint cracks and stains on the floor, transforming them in Photoshop, and turning them into polyester plate lithographs and polymer prints. Like the hoodoos, the origin of the image is inconsequential, it is the alteration that gives the image it’s new life.

Another fascination is with the color, Milori Blue. The color was accidentally discovered in the early 1700’s by a German druggist and pigment maker. He was experimenting with potassium and iron sulphides and happened upon the color. The origin of the color is particularly interesting to me because I rarely preconceive what my palette will be; it happens intuitively, spontaneously, and yes, sometimes accidentally.

Travel is a big part of my life, and like most people, I take pictures when I travel. Several years ago, I

saw the Dead Sea Scrolls at the Israel Museum in Jerusalem. I was immediately drawn to their beauty and found them visually seductive. As a book artist, I also became very interested in exploring the scroll as a book form.

On a more recent trip to the Southwest, I visited Bryce Canyon. As seduced as I was by the Dead Sea Scrolls, I found the hoodoos in Bryce Canyon to be seductive in yet another way. Hoodoos are tall, skinny rock formations that ascend from the ground. When lit by the morning sun, or at moonlight, they are truly one of the most magical forms I’ve ever seen. Photographs do not do them justice, but on my hikes through the canyon at sunrise, I took many pictures. The prints and scrolls represent my transformation of the hoodoos into creatures that truly take on a life of their own.

I guess you could say that my obsessions are diverse and wide-ranging, from the Dead Sea Scrolls to the hoodoos of Bryce Canyon to my studio floor on Sprague Street in Hyde Park.