A & I One Man Show
The color images were then drum scanned at the highest resolution and lightjet prints were struck on Fujichrome super gloss or semi-matte paper, which is a light-sensitive photogaphic paper that is chemically processed.
The black and white images were enlarged with the aid of magenta-colored light transmitted through negatives and projected by a lens onto double-weight, fiber-based silver halide paper which has been selenium toned for archival integrity.
Briefly, I want to thank a few people. First, thanks to all of my muses and collaborators who are here. You know who you are, so I won’t bore the people who don’t know us by naming you. And I’d like especially to thank A & I and Baret Lapejian. For the benefit of those of you who don’t know me, my artistic process is to flounder around, searching for meaning, and in spite of a number of profound and sometimes catastrophic mistakes, some happy accidents result in the work which is on display here tonight. But none of this work would mean anything without the enlightened encouragement of people like Mr. Lapejian and everyone at A & I. Thank you very much.
And finally, these aren’t my images. They were loaned to me, by the great out-of-doors, nature in all its glory, which has changed literally billions of times at each of the locations where these images were captured, or borrowed, if you will. They are the only record of what Dianne Arbus so famously said about a photograph. And I quote, “…it is proof that something existed that is no longer there.”
Thank you for coming tonight.”