It is difficult to say how
long I’ve been involved with photography – and precisely, what
inspired me. For
as long as I can remember, I’ve had a camera in my hands – from
my first Brownie (which I received on my seventh birthday), until
now. I can remember
taking unconventional photographs, intrigued by certain angles
and perspectives, at as early an age as eight or nine years.
At the age of eight, I created what I considered my
first significant photograph – it inspired me to become involved
with photography as a photo-hobbyist.
As a teenager, I continued to be a photo-enthusiast , but I spent
more time with drawing, painting, sculpture, handcrafts, and
academics. During my junior
year in high school, my interest in photography was rekindled.
I exhibited, (along with contour drawings of people), four
photographs created using an instamatic camera and filers made from
Mylar and magic marker. These
photos stemmed from an experiment dealing with the effects of light upon
the plastic lens characteristic of the camera and semi-translucent
objects placed in front of the lens.
My resurgence into
photography began at an experimental level.
I was interested in manipulations and special effects when I
purchased my first 35mm camera in 1973.
I selected the Minolta SRT102 because along with having a rugged
body, and excellent optics, it offered me the ability to create multiple
exposures. I worked primarily in color from 1973-1975.
In 1975, I studied photography at Kean College with Dr. Tatton,
and began developing black and white prints.
The photograph “Yiayia” of my paternal grandmother, was
exhibited at “City Without Walls Gallery” in Newark, and at over 30
other art exhibitions.
In 1976, my daughter
Xanthie was born. Through
my relationship with her, my love for children was magnified. I grew to
understand their various moods, needs, and feelings.
My work reflected this growth.
My work does not have a central theme.
It is eclectic. I do
not feel that it is important, nor do I feel that it is beneficial to
the artist, and subsequently to the public, for the artist to work on
only one theme for the duration of his or her life.
Once one has become a master in one area, where does one go from
there if they are completely unfamiliar with other aspects of their
craft? I believe that it is
important to develop a more rounded approach, to have several interests
rather than one.
When working as a photographic artist (or as a painter or
sculptor) it is crucial that a strong commitment, be felt.
In order for ART to be effective, an intense emotional reaction
must occur (love, hate, disgust, anguish, worry, fear, happiness,
etc…). The ART of
photography is deeper than just technique.
Good technical control of the medium is necessary to make a
My photographs have continued to evolve.
Color abstractions were prevalent from 1973-1976, (and
sporadically reappear in current work).
Pictorial travel shots, black & white nature pictures which
emphasize the mysterious quality of mushrooms, mosses and other fungal
growths, photographs of the elderly, of children, and recently a
juxtaposition of nature and people, whereby, the child of New Jersey’s
interaction with his environment is depicted, are included.
Currently I am working on the documentation of costume in color.
From 1978-1980, I studied photography with Dr.
Donald Lokuta. Dr. Lokuta
taught me how to refine my printing technique to produce archival
prints, to print in color, the zone system, and lighting techniques. He also helped me to grow as an artist.
My photographs of children show many aspects of the child.
They frequently create an aura of nostalgia with their turn-of
the century sensitivity. Some
show the mischievous character of children, some show the pensive, or
anxious qualities, while others show the happy and fun loving qualities
possessed by children.