Nov 2, 2008
where I am and where I am going
Viewpoint, parallax and relativity.
Spatial orientation, interference patterns and optical illusion.
All are encountered in the real world;
all are important components of my art.
In Location, Location, Location for example, hard light
from the sun or a spot lamp creates a dynamic moiré effect between the
graphic pattern of the Ocean and the shadows it creates;
the result is that as you move, changing your point-of-view,
the pattern appears to actually ‘ripple,’
much like the real ocean does when seen from the air.
Color is a tool as well;
the four locations are each of similar brightness -
they differ primarily in hue and saturation.
The green, red and blue hues, similarly saturated, of the Hillside,
the Canyon, and the Ocean, contrast with the gray,
unsaturated aspect of the man-made City.
The soft, flowing lines of the natural environments further underscore
their differences with the rectilinear configuration of the orderly,
yet somehow still chaotic construct that is the City.
Each ‘Location’ has its own life; in ‘Location, Location, Location,’
I contrast their essential attributes with each other.
Individually, however, they offer still more opportunity for
investigation and discovery.
I am developing a series of unique smaller pieces,
five versions of each location that highlight its appearance
at different times of day and in varying weather conditions.
Art is a manifestation of many things, but for me, most importantly,
it is the manipulation of visual elements in such manner as to convey my
point-of-view as a jumping-off point for others to first consider and
then take where they will.
The relatively clean structure of Location… is but one
I champion. Another is to be revealed in the organic earthiness of my
next piece, Formation.
amorphous cloud of tiny particles coalesces into something more solid,
under the watchful direction of its Creator, to form a maze, complete
with hedges and flagstones, and
people walking through on their way to…somewhere.
With my background in photo-imagery, future work will move from the
topographic quality of ‘Location’ to literally ‘blur the line’ further
between graphic representation and reality.
Photo-realism will take on a new dimension, pardon the pun…
I have been interested in three-dimensional (3-D) simulation systems,
going back to the late seventies when I first became involved with
My current work takes 2-D art and positions it in 3-D space:
a finite series of planes simulates reality, but only to a limited
By contrast, a hologram provides a much broader, almost infinite
range of vantage points,
with the ability to render 3-D detail as fine as life.
Having long ago combined my glass work with holography,
I consider it will be an intriguing opportunity to reach into my past and
my subsequent life experience to bear on the artistic potential of
Dr. Gabor’s technological wonderland of holographic laser imaging.
Invented the most important optical filter effects of the past 30
years --innovations that are used in the majority of motion picture
and television productions worldwide- including Pro-Mist®, Soft/FX®,
Ultra Contrast, Color-Grad®, Diffusion/FX, Glimmerglass, Smoque,
Cool and Monochrome Day-For-Night, Vector Star, LL-D®
the ‘Camera Filters’ section of the ASC standard reference
publication, “American Cinematographer Manual,” both film and video
editions (through several revisions)
Awarded four patents in camera accessory design:
6,820,844- Tripod handle arrangement
5,105,312- Lens mount accessory system
5,040,011- Self-mounted camera accessories
Designed, built and implemented specialized equipment for optical
Contributing optical design consultant for Disney Imagineering in
development of unique elements of
Times Square Studios (where “Good
Morning America” originates) (1999)
Created unique product design approach to glare elimination from
computer monitors (EZ-See, 1985)
Developed specialized optics for military flight training simulators
for Hughes Aircraft, General Dynamics, Rockwell, General Electric,
Collaborated on development of mass-produced holographic display
images, including embossed and
injection-molded plastic (1980)
Collaborated on production of three signed and numbered laminated
glass holographic art editions, of 250 each, by the important
Israeli artist, Agam, commissioned by the Times Mirror Corp. of Los
Scientific and Technical Award (Technical Achievement Award) from
Academy of Motion Picture Arts and Sciences (1992)
Time Emmy Award from the Academy of Television Arts and Sciences
Elected Associate Member of the American Society of Cinematographers
Elected Fellow of the Society of Motion Picture and Television
Honorary Doctorate from Columbia College (www.columbiacollege.edu)