AFTER

AFTER aims to do to photography what photography did to painting early on: point it to better replicate the world - emotionally. Except here, the world is the World of Art, the world of painting in particular. Utilizing an array of techniques in-situ, in-camera - meaning, aside from minor color correction, none of these images have been doctored on the computer - I have attempted to emulate the styles of various painters both classic and contemporary. Previous projects by other photographers have focused on echoing composition, but as the ideal here is, above all, a recapitulation of style in another medium, what interests me is also painterly light, along with texture and color. Giving new technological life to the works of El Greco and Monet, Rothko and Lichtenstein, Bacon and O'Keefe, Ensor and Rauschenberg, I hope to reinvent the camera's use not as unreliable archivist but as something closer to "brush." In completing this series I feel as if I have turned photography back on itself: By using the medium to create images that mimic, and equal, the ways that painters now grapple with the expression of their visions in an entirely photographed, photographable world.

AFTER

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