Tableau Photographs
The series of tableau photography, Rituals of Consequence, 1980 – 1982, which proposes that human activities, deceptively mundane as putting up a tent, or selecting flowers, or selling gold fish can be highly charged. These works are presented as isolated activities photographed at night in dramatic lighting in an outdoor backyard stage (green lawn, night stage). There are 30 images that populate this series.
A decade later, in 1992, I produced a small offset book, Between the Sacred and Profane, somewhere on the beach of life. This marked the second act in the evolution of a work. In this work I wrote a narrative, which is a metaphorical road trip, based on my personal experiences. This chronicle is neither truth nor fiction; it is betwixt and between both. The text surrounds photographs that are loosely referential. The book also contains a second part, not unlike a second act in a play. This next section presents male/female interactions and relationships that are strange yet familiar. The photographs are accompanied with captioned titles. Woman Trying On A Mask, Man Singing Italian Songs, Woman Teaching Man To Swim, Woman Watching Man Struck By Lighting, or Man And Woman Trying To Read A Road Map, are examples seen in the second act or section. The entirety of the slim volume is intended to whisk the viewer/reader away and be part of the metaphorical journey.
The series of tableau photography, Rituals of Consequence, 1980 – 1982, which proposes that human activities, deceptively mundane as putting up a tent, or selecting flowers, or selling gold fish can be highly charged. These works are presented as isolated activities photographed at night in dramatic lighting in an outdoor backyard stage (green lawn, night stage). There are 30 images that populate this series.
A decade later, in 1992, I produced a small offset book, Between the Sacred and Profane, somewhere on the beach of life. This marked the second act in the evolution of a work. In this work I wrote a narrative, which is a metaphorical road trip, based on my personal experiences. This chronicle is neither truth nor fiction; it is betwixt and between both. The text surrounds photographs that are loosely referential. The book also contains a second part, not unlike a second act in a play. This next section presents male/female interactions and relationships that are strange yet familiar. The photographs are accompanied with captioned titles. Woman Trying On A Mask, Man Singing Italian Songs, Woman Teaching Man To Swim, Woman Watching Man Struck By Lighting, or Man And Woman Trying To Read A Road Map, are examples seen in the second act or section. The entirety of the slim volume is intended to whisk the viewer/reader away and be part of the metaphorical journey.