WaterWorks grew out of my 40+ year AutoWorks series (black and white self-portraits that were small, diaristic, intimate, and laminated like IDs so they could be held in the hand) and an interest in the sexy/klutzy/serene paintings related to bathing (Degas, Manet, Morisot, Bonnard). One more influence comes from one of my earliest photo jobs—working for a private detective. Since that time, I have been always been poking around the tenuous demarcation between what’s public and what’s private.
Making self-portraits implies welcoming surprises. The photographer–both as subject and as creator–must allow for compositional accidents. While shooting WaterWorks, I realized that the interaction between light and water increases the limits of control while simultaneously creating unexpected, sometimes startling results. The images run the gamut from very clean to very strange with a lot of quirk and beauty and magic in between.
WaterWorks deals with time and aging and demonstrates a willingness to be exposed and vulnerable though it is not just because I’m the subject. I welcome the challenge of creating intimate – though not confessional – pictures where I have to be present in all senses of the word.