#LunchHourPGH is an uninfluenced visual record of the right now. The people in the images, who could be you or I, are cultural participants and consumers at the same time.
The images are made anonymously though close attention is paid to framing and timing. The subjects are caught completely unaware and are even somewhat oblivious to the presence of the photographer among them. Because of the anonymity, the viewer can see that there is a sense of discontent, disconnection and voyeurism linking the body of work.
Sixteen #LunchHourPGH images were printed on stretched canvas and were previously exhibited May 2015, River Gallery, Rocky River, Ohio. These one-of-a-kind exhibited images are available for purchase.
US Army Veteran Nick Guzik passed away this week, he was 95. He was a witness to the execution of Private Eddie Slovik during World War II. Slovik was the only US service person to be put to death for desertion since the Civil War. Guzik vividly retells his experience in Sainte-Marie-aux-Mines, France to a 2011 gathering of the Pittsburgh based The Veterans Breakfast Club. This is the only known recording of Guzik’s story of the last day of January 1945. Sixty-six years later he still questions the morality of the killing and considers Slovik to have died bravely.
A few weeks ago I had the opportunity to participate in Allegheny College’s annual photojournalism workshop. The topic for this year was focused on the women of the Meadville community. I acted as a mentor/collaborator with a student from Ohio University. We had the opportunity to visit retired Allegheny College professor Sue Buck.
Prof. Buck is an artist who works with textiles and drawing. She has committed her life in retirement to drawing to raise money and awareness for The Center for Great Apes.
This video was created for a crowd sourcing campaign to help renovate the Coraopolis Train Station in Coraopolis, PA. The station, when renovated, will be the junction of the Montour and Ohio River bike trails. From here you can ride continuously to Washington DC.
The campaign is ongoing and will run through May 2015. The goal is to raise $75,000.
This is a creative personal project I created with my children. They are at the age where they love to make films with me. I am grateful that they enjoy spending the time with me. I hope these films make great memories for their lifetime. We have more adventures planned for the summer of 2015. Stay tuned!
writing and production
gathering storm/il pleut à mourir [+Clatters Like Worry]
by Godspeed You! Black Emperor
I was the guest editor for the December 2013 edition of GigaPan Magazine. This month’s theme is Main Streets. I dug through the GigaPan archives and selected nine main streets from around the world. The images and text illustrate the commonality and distinctions of each community. Hopefully, it enlightens you to be involved on your Main Street.
This video collaboration with potter/artist Billy Ritter is designed in such a way as to disorient the viewer. The spinning motion of the filmic elements such as the helicopter and the repetitious four count music act as unifiers. Inclusion of the helicopter at the beginning of the piece does two things. One, it helps set the location of the pottery shop. Secondly, helicopters, like the potters wheel, work with rotating parts. It is a lucky symbol linking the larger world to the mound of earth about to be transformed, through spinning, into a functional and beautiful piece.
The music choice was made based on the ongoing rhythmic nature of The Funky Drummer. The main tempo and feeling of the song allows ones mind to enter into a certain state. The state should be very organized and predictable as the song changes little throughout. However, when the music does make slight changes the film editing changes as well, black screen or stop is used to delineate a break in the action. The four count measures were natural transition points in the film. As the visual are presented and transitioned, the occur only on the mark. Every transition occurred on either a four count or on some anomaly present in the original song. Editing the visual in this way provides a continuity. That continuity is evident because during the spinning cycles of the film the transitions are supposed to be transparent to the viewer. There were no less than four transitions that occurred in the cycling. The song was used in it’s entirety and extended slightly for the credits.