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These dry, whimsical photographs were made with domestic objects or in domestic settings and are intentionally open-ended narratives. The figurative language within the pictures makes referenced to the human figure. Objects are repeated within the series in order to create a formal dialogue between photographs. There were a number of conceptual and formal influences, here are a few: cartoons produced by Frederick Quimby, Roland Barthes’ essay The Rhetoric of the Image, Alfred Hitchock’s movies, table top photography, prose poetry, literary nonsense and animism.
These dry, whimsical photographs were made with domestic objects or in domestic settings and are intentionally open-ended narratives. The figurative language within the pictures makes referenced to the human figure. Objects are repeated within the series in order to create a formal dialogue between photographs. There were a number of conceptual and formal influences, here are a few: cartoons produced by Frederick Quimby, Roland Barthes’ essay The Rhetoric of the Image, Alfred Hitchock’s movies, table top photography, prose poetry, literary nonsense and animism.
These dry, whimsical photographs were made with domestic objects or in domestic settings and are intentionally open-ended narratives. The figurative language within the pictures makes referenced to the human figure. Objects are repeated within the series in order to create a formal dialogue between photographs. There were a number of conceptual and formal influences, here are a few: cartoons produced by Frederick Quimby, Roland Barthes’ essay The Rhetoric of the Image, Alfred Hitchock’s movies, table top photography, prose poetry, literary nonsense and animism.
These dry, whimsical photographs were made with domestic objects or in domestic settings and are intentionally open-ended narratives. The figurative language within the pictures makes referenced to the human figure. Objects are repeated within the series in order to create a formal dialogue between photographs. There were a number of conceptual and formal influences, here are a few: cartoons produced by Frederick Quimby, Roland Barthes’ essay The Rhetoric of the Image, Alfred Hitchock’s movies, table top photography, prose poetry, literary nonsense and animism.
These dry, whimsical photographs were made with domestic objects or in domestic settings and are intentionally open-ended narratives. The figurative language within the pictures makes referenced to the human figure. Objects are repeated within the series in order to create a formal dialogue between photographs. There were a number of conceptual and formal influences, here are a few: cartoons produced by Frederick Quimby, Roland Barthes’ essay The Rhetoric of the Image, Alfred Hitchock’s movies, table top photography, prose poetry, literary nonsense and animism.
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These dry, whimsical photographs were made with domestic objects or in domestic settings and are intentionally open-ended narratives. The figurative language within the pictures makes referenced to the human figure. Objects are repeated within the series in order to create a formal dialogue between photographs. There were a number of conceptual and formal influences, here are a few: cartoons produced by Frederick Quimby, Roland Barthes’ essay The Rhetoric of the Image, Alfred Hitchock’s movies, table top photography, prose poetry, literary nonsense and animism.

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LPA Exhibition

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Still Life 5 Exhibition

Gallery Notes

These dry, whimsical photographs were made with domestic objects or in domestic settings and are intentionally open-ended narratives. The figurative language within the pictures makes referenced to the human figure. Objects are repeated within the series in order to create a formal dialogue between photographs. There were a number of conceptual and formal influences, here are a few: cartoons produced by Frederick Quimby, Roland Barthes’ essay The Rhetoric of the Image, Alfred Hitchock’s movies, table top photography, prose poetry, literary nonsense and animism.