A Note by the Artist
The American poet, Charles Olson described the process of composing poetry as an open field; words forming their meaning directly and concretely on this ‘landscape made of paper’. I have always felt the visual experience as collaboration with this open field; sensitized to everything I could bring to it and receive from it through the interaction of light, chemistry, film and paper.
I have photographed subject matter as diverse as New England architecture, medieval wall frescoes and tomb reliefs, construction sites, western landscapes, abandoned structures and the visual remains of cultures from around the world.
The act of photographing often demands attention to technical details and I have countered this technical control with an equal involvement using the fluidity of accident in the making of my monoprints. I call this the ‘struggle for the horizon line’ and its balance continues to evolve.
Photographing and printing have been one of transformation from the literal to the imagined; from the seen to the felt; from the invisible to the visible. The poetic insight for me is one of intangible qualities that can sustain a viewer through a core mystery made manifest by the artist.
-- Denny Moers
My first serious body of work began in graduate school where I met and was befriended by the poet, Robert Creeley. He encouraged my work and began using my images for his book covers. I moved to New England to become Aaron Siskind’s first printer and assistant. His influence on my work found focus with an intense physical absorption with the act of photographing and printing. as though the artist and subject were in animate dialogue.
As I explored new subject matter, the process of making these monoprints evolved from subtle, pastel like tones into an expressive bold range of hues from deep blues to saturated reds—all coaxed out through the chemical and light interaction of black and white photographic paper.
The idea of the monoprint is central to my working process as all prints are unique and can render different ideas and feelings each time the image is printed in the darkroom.
From the first architectural abstractions to the current body of work with landscapes and structures from around the world, I have sought to sustain an emotional core and further a sense of mystery with the understanding that subject matter is always internal.