Introduction /

    What interests me is the magic of change itself, the interrelation between things , ideas, and words. By a slight shift in context, in the use of light or color or in dimension, we can conjure up the hidden poetry in the common . In a disjointed world , whose processes and events are often beyond my grasp, I  need to search for connective threads that underlie all matter, animate and inanimate . Everything is part of a larger whole, everything changes. This holds true for our individual life and for its larger framework: history. Hence my interest in mythology and literature.
Change presupposes specificity and difference. It is essential to study carefully the individual parts that undergo changes. Anything can be worth my attention: a ceramic bowl, a dead insect found on the ground,  a face marked by age, an old stuffed chair floating along the shore.

    Equipped with a sharper and more objective lens than the human eye, the camera can be a useful tool of observation. It can assist our visual memory , but does not replace the drawing hand as a tactile extension of our eye. Working digitally with a camera or on the computer with photoshop allows for ultimate mobility. Its possibilities for change are indefinite. Therein lies digital photography's  great attraction and its drawback. The printed surface of the inkjet print does not match the richness of the hand - printed image. But the main danger of working digitally lies in a certain indifference, a shallowness. If any image is possible , are all equally worthwhile? I doubt it. My search has always been for poetic references, for a metaphoric language, whereby reflection is essential. 'There is no movement without stillness,' says T.S.Eliot. He speaks of a still-point, and I want to add without that we are truly lost.