Silos

 

I have been photographing concrete grain silos, located in the Northern Sacramento Valley, since 2007—they originally appeared as part of Measuring Space. In 2011 I began creating composite images of silos by placing two to ten separate exposures edge-to-edge. The black lines are wires, occasionally ropes, either in front or behind the silos. The dark shapes are shadows falling on the sunlit silos.

 

Photographing for more than forty years, my heroes during my formative years were photographers—Edward Weston, Josef Sudek, Eugene Atget, and Frederick Sommer. Decades later, I find inspiration in the work of painters—Piet Mondrian, Agnes Martin, Ellsworth Kelly, and Sean Scully—informed by their paintings is probably more accurate. Their paintings help me make sense of my photographs. When I walked into the Agnes Martin room at the remodeled SFMOMA, I felt I was in the presence of an artist who mastered a language I had just begun to learn. My fascination/obsession with line seemed validated.

 

"The emotion of beauty is always obscured by the appearance of the object. Therefore the object must be eliminated from the picture." – Piet Mondrian

Sections

Silos Statement

Silos

 

I have been photographing concrete grain silos, located in the Northern Sacramento Valley, since 2007—they originally appeared as part of Measuring Space. In 2011 I began creating composite images of silos by placing two to ten separate exposures edge-to-edge. The black lines are wires, occasionally ropes, either in front or behind the silos. The dark shapes are shadows falling on the sunlit silos.

 

Photographing for more than forty years, my heroes during my formative years were photographers—Edward Weston, Josef Sudek, Eugene Atget, and Frederick Sommer. Decades later, I find inspiration in the work of painters—Piet Mondrian, Agnes Martin, Ellsworth Kelly, and Sean Scully—informed by their paintings is probably more accurate. Their paintings help me make sense of my photographs. When I walked into the Agnes Martin room at the remodeled SFMOMA, I felt I was in the presence of an artist who mastered a language I had just begun to learn. My fascination/obsession with line seemed validated.

 

"The emotion of beauty is always obscured by the appearance of the object. Therefore the object must be eliminated from the picture." – Piet Mondrian

Sections