The Hudson River anthology has grown organically out of my photographic work documenting rural and agricultural life in the Hudson Valley over the last decade – the subject of a number of exhibitions in galleries and museums in New York State.
The primary approach to the photography of these landscapes is the same as perhaps the early 19th c. painters in the Hudson River Valley and others later in the century in the forest and landscapes around Fontainebleau - and that is to use color and form to build works of art – with nature itself being the sole subject of the image making. Sometimes there is a view to the “simplest of artistic narratives” as in Jean-Baptiste Camille Corot’s Italian plein air oil painting – and in others to a more transcendental and atmospheric approach that one would find in the later work of John Frederick Kensett. Second, the work is the result of the evolution of the landscape over time - culminating from hours, days and months spent watching, waiting, collecting… just as Kensett, Cole, Church, and Bierstadt and others did in their earliest record of the Hudson River Valley. This new work is in no small part the result of the same evolutionary experience. It is to be patiently aware of the changing azimuths of the sun, the rising of tides, the direction of winds. Finally, and most importantly for me photographically and as an artist, it is to continue to explore and chronicle the remarkable intersection of light in the natural world – record what has been given each day…and then as it was once said, assemble poetry from the evidence.