It is not without trepidation that I have appropriated the codes of the Sublime and the Picturesque in my work. After all, serious photographers have spent most of this century trying to expunge such extravagances from their art. The tradition lives on, mostly in calendars and picture postcards. I was challenged to rework and revitalize that which had been so roundly denigrated.

I became wary of simple interpretations that assumed fixed and final meanings.

I want to make photographs whose very ambiguity provokes thought, rather than cuts it off prematurely. I want to make pictures that work on a more mysterious level, that approach the truth by a more circuitous route.

It would have been possible to structure my photographs in such a way that no indicators of the present were discernible. However, I wanted to incorporate into the project as a whole the jostling of time-frames I would feel as I set up my tripod on various rocky promontories.

Photography, of course, is the perfect medium for the investigation. It can reveal the truth of present day specifics and particularities, while at the same time, by conscious choice of lighting and pictorial structure, suggest the aesthetic legacy of the past.

While making my picture window photographs, I came to think that every room was like a gigantic camera forever pointed at the same view.

I often wondered why I was attracted to certain landscapes and not others and why my photographs (and depictions by other artists) looked the way they did, Archetypes imprinted on my mind started me on a search.