‘70s Sequences

Proceeding from a fascination with Muybridge, I sought to map movement past a fixed location through time and space by creating sequences that were sometimes closely related in time, and at other times separated by ambiguous gaps. What built these stories was the footprint that was inscribed by each exposure over time and the relation between or among the selected exposures.

The stations varied: the window of my second-floor loft in Manhattan provided a vantage point on a changing river of movement and dysfunction, a place from which to chart the ebb and flow of human activity along the Bowery of the 1970s. Bus or train windows provided fixed locations in motion, portals from which to view the urban fabric. A panoramic sweep atop the Empire State building described a confined, caged platform from which to view the vast cityscape below and beyond. The minute facial changes of frozen, rapt spectators during the stretch run of a thoroughbred race reflect the charged emotions churning within.

The resulting sequences are of very specific places but are also about time. Time is opened and then compressed as a set of momentary impressions and reactions that are packed into a single matrix.