The images in this series represent internal landscapes of the human experience – lands full of memories, dreams and secrets. They are visual metaphors that embodies the vulnerability of our mortal nature.

The themes for this work are very personal and come from real places and experiences from my time growing up in Lima, Peru, among them: the end of an idyllic childhood followed by strong societal pressures on young women, feelings of alienation from society and religion and living with fear during the terrorist attacks in the city. Every piece is associated with a particular emotion which is reflected in my work through these images featuring women of different ages. These photographic collages also incorporate objects associated with memories and writings from my journals.

These images were inspired by my personal history but I hope that this work transcends its origins and speaks to our universal humanity.

Crossing the Merrimack

The southernmost bridge across the Merrimack River is 5 miles from my home; the northernmost crossing, at the Veterans Memorial Bridge in Boscawen, NH, is 73.4 miles from my driveway.  There are 43 crossings in between and in April 2015 I decided to make photographs of them all.  There would be photographs from both the eastern and western shores, from below the bridge, and, when possible, images of the river seen from the bridge. Defining the project in these procedural terms was a simple  self-management stratagem, as my preference when making landscape photographs has been to approach each project with an empty mind, allowing the world to surprise and seduce me, and to teach me unforeseen lessons.

This project is shaped by several rivulets of influence, some flowing from personal history, some from the influence of artists I have admired, and some from prior photographic projects. I have for most of my life, sought out the water as a place to live near, to play in, and to contemplate.  Bridges and rivers play prominent roles in the history of landscape art, and an emerging interest in 19^th century Japanese prints, especially those of Hiroshige and Hokusai, has brought me closer to that tradition. Previous work has centered on how bodies of water define urban landscapes or, more generally, the intersection of human intention and geological structure and river crossings are a very manifest embodiment of human intention.

As a former writer, I was always thinking about the words I would use to describe something. The words would guide what I saw and in fact how I saw it. As a photographer, I have to learn to block out the verbal description of a scene and just experience it visually, with no intervening words. I try to see colors and shapes and lines and visual relationships at their purest.

I find that one of the best ways to create impact on my viewers is with strong contrasts of color and light and shadow and darkness. The Dutch masters knew this: I love the way, especially in the chiaroscuro paintings of Rembrandt and his contemporaries, a strong light source illuminates a part of the picture and makes that pop out of surrounding semi-darkness.

Recently, I am finding that, following the work of one of my favorite photographers, Parisian night photographer Brassaï, urban night photography allows me to express that vision. Most large urban areas are visually alive, but I have found Boston at night to be especially exciting. The bright lights pop out of the darkness, and near water and bridges the light reflects everywhere. The downtown, the business district, and especially the Zakim Bridge–all these startle with concentrated light and the deep mystery of the dark.

My images are often dark, but for me, photographer Jay Maisel nails it: “The more light you have in an image, the less drama you get. The details start taking over; the mystery is all gone. The effect of limited light causes drama by leaving most of the image dark.”

Once Upon A Time

This work is a collaboration between myself and my 15 year old daughter.  

We work intuitively, with no script or agenda. She dresses up, I follow. I am beholden to her, capturing moments which toggle between fantasy and reality, as she tells her story. I am like a spectator in the audience who has been given a chance to peek behind the curtain and capture her world.  

The process is much like childhood, at times, playful and joyful, at other times, frustrating and confusing.   The result of our collaboration is a series of photos that depict her creativity and imagination.  

It is an honor, a privilege.  It is also fleeting.  I relish these moments, as I know their occurrence will dwindle as she makes her way into womanhood.

Children of the World / Boston

I’ve always been interested in my own family’s immigrant origins. Where did we come from, and how does that make us who we are? How do parents, who emigrated to the U.S. from other places, help their children understand who they are, in their new world?

I met many immigrant families in my job as a social worker, and was fascinated to learn more about their lives. I began photographing the children, and listened to how they understood their family’s immigrant story. Photographing them in their homes here in Boston, I love to see how they ‘become Americans’, and at the same time hold on to some of their identity from the home country. A mother from Pakistan dresses her daughter in a sari, and the little girl only wants Barbie dolls.  A boy from Cape Verde plays African drums, and also loves baseball.

Children of the World | Boston is a story, in photographs and words, about children of immigrant families who live in Boston. My goal is to photograph children from different countries, all living in the Boston area. I interview each family to learn about their experiences living in the U.S., and here in Boston. I ask the parents and children to talk about their identities. A 12 year-old boy said, “I was born in America, but my parents are from the Caribbean. I’m American by citizenship, but ‘American’ is just a label… my blood is from Dominica.”

I want to introduce these different worlds and cultures to a wider audience. My hope is that the viewer will learn something about the ‘children of the world’ here among us.

In Your Face – The Mannequins Look Back

Mannequin heads have fascinated me for years. I frequently find them looking back at me when I look at the world through my camera. Some are attached to bodies and some not. Some of them are sad and battered with chips and stains and bad hair or no hair; some are smooth and perfect if a little blank and submissive. They are inanimate, and yet I feel a connection with them and want to tell their stories.

The faces in this collection look at the camera as though they were human, with consciousness and attitude, meeting the world in their individual ways. They are active participants, projecting their personalities, rather than passive objects. In their photographs, they are alive.

 

Urban Reflections

A lover of the sky, I often look up for consolation. Walking in the city, I see the sky’s light dancing on the old and new architecture. My challenge, or delight is capturing their interaction in a photograph. A myriad of moods can take over as the reflections enhance the images. Looking in on these transformations helps us see the fleeting nature of who we are, and what our created landscapes can become.

The need for innovation is tempered by the commitment to preserve what is beautiful in the old. As a photographer I explore the ever-changing urban space. My hope is that viewers will explore and find glimpses of beauty and history reflected in many urban cityscapes.

Flora

The concept behind “Flora” is to bring me closer to nature and the intricate details and colors of flowers. I am particularly drawn to tropical flowers which are often called exotics. I find that close-up photography using a macro lens gives me the opportunity to discover and observe a whole new world of patterns that, for me, generate positive emotions, ranging from calm to delight.

I first started exploring this form of photography by chance during a workshop involving a single hibiscus flower. I have been quite surprised to find that macro photography appeals to me (not unlike seeing art on a canvas) as an experience full of surprises, where I don’t know what to expect until I see what the seemingly unrecognizable image brings forth. For me, this has opened a new world of exploration and curiosity as I search out details in everyday life. The journey has taken me to new places where I often discover the myriad ways in which an image may surprise, please and intrigue.

Celebration Of Trees        

I have to see a bit of nature every day to maintain my inner balance. Whether I am in the city or exploring outside, trees have a soothing power over me. The relationship between human kind and nature is crucial to our survival as a species and fundamental to my daily life. On exhibit here are a Kauri tree from a rain forest in New Zealand and a Dawn Redwood at the Arnold Arboretum in Boston, Massachusetts. 

Throughout the world trees reduce air temperature, shade surfaces, absorb noise, reduce glare, absorb potentially harmful gases like carbon dioxide and provide habitat for animals. Their beauty transcends time and distance throughout the world.