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All of the works in Unmasked were made bwtween 1970 and 1975 in a chemical-based, analog photographic darkroom using fiber-based, black and white, chlorobromide photographic paper processed in traditional chemistry. Employing various experimental procedures with readily available materials, I unmasked the hidden potential for unleashing color responses on conventional black and white photographic paper.


The works in Unmasked were made during a period of profound personal upheaval including the sudden death of my father while playing tennis at age 47. The majority of the photographs were made during my graduate studies at Massachusetts Institute of Technology where Minor White was my mentor. While a number of Minor’s other students made photographs that were derivative of his approaches, I determined to distance my photography from Minor’s and used strategies in Unmasked that could never be seen as those employed by him. Viewing these photographs now, I realize that though they do not look like Minor’s pictures, they undeniably share a passion with his work for self-discovery and highly charged, raw emotion. 


None of the one-of-a-kind, silver gelatin photographs in Unmasked was made using digital compositing; I did no drawing, painting or marking on or altering of the surfaces of the photographs.


I have included photographs from the series that are absent of color because I consider them to be central to this project and because their formal and conceptual strategies are compatible with the other works in Unmasked.

Signed, archival pigment prints from Unmasked are available for purchase. Contact with inquiries about purchases, gallery representation, printed-on-paper and online publication and museum and gallery exhibition initiatives.