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Ghost Stories
In Ghost Stories I’ve developed a new technique to expand my small intimate tintype originals both in size and expression. They are scanned from original tintypes, enlarged, cropped, transferred onto large sheets of aluminum, and then embroidered to create powerful confrontive images.
By investigating for hidden meanings that lay just below the surface, I focus on the strangeness of what is assumed to be known - but isn’t. The new images challenge perceptions as they capture that place where anxiety and beauty can co-mingle. In this way, an obsolete 19th century photo process is transformed into an object of contemporary relevance that recontextualizes history and begs the question: "What is really going on here? Is what we see really what it is?”
By investigating for hidden meanings that lay just below the surface, I focus on the strangeness of what is assumed to be known - but isn’t. The new images challenge perceptions as they capture that place where anxiety and beauty can co-mingle. In this way, an obsolete 19th century photo process is transformed into an object of contemporary relevance that recontextualizes history and begs the question: "What is really going on here? Is what we see really what it is?”
Top L to R: Uprooted, 20.75x16.25 in., ink jet transfer onto aluminum, dyed artificial flowers, mixed threads - 2019; Blue Boy, 21.75x15 in., wool, cotton - 2019; Her Best Side, 22.5x18 in., assorted threads - 2019 In God We Trust, 19x16 in., cotton thread - 2019
Bottom: Disappearing Act, 22.75x16.25 in., cotton thread - 2019; Sheeps Clothing, 22.5x14.75 in., silk threads - 2019 Hen Scratchings, 22.75x17.5 in., cotton threads - 2019, Polka Dot 36x24 in., indigo dyed gauze, thread - 2019