I’m interested in art as a means of inquiring about our experience and perception of place, the construction of memory and identity, and the relationship between public and private spheres.

I use photography as a tool to investigate social and personal themes—and the intersection between them. Rather than create series of discrete images, I consider the photographs in a project as data points that engage viewers and offer a bridge to wider inquiry; I’m less interested in producing single “iconic” images that circulate in a visual economy concerned only with formal issues. I strive to ensure my work is in dialogue with the history of photography and the ways in which the medium has been deployed to construct and communicate ideas about sites and spaces.

My work also emphasizes the importance of physical presence in actual space as opposed to digital presence in virtual space. I believe this is increasingly important in an age of digital dislocation, which permits us to be anywhere and nowhere at the same time.

And it’s central to my practice as a queer artist. My work helps to construct an expression of place rooted in my queer experience and the fracturing and fragmentation that attend it. Being queer, as in “out of place” has always been part of that experience for me. That feeling of not quite being in the right place is even stronger now that I am in my mid-60s. There persists a sense of dislocation and an ongoing need for psychological and emotional wayfinding as I navigate both queer and heteronormative spaces and social contexts.

As a queer photographer, then, being “out in place,” (that is, physically present to record the experience of moving through the world) is both an act of cultural production and self-declaration: that I am out in the world, negotiating my place in it, and working to express the many meanings each of us attach to it.