Copper Visions

Fractured Panes


Textured Visions

Translucent Visions

Selections from Unaltered State of Reality Collection

About Unaltered State of Reality


All of the photographs in this Collection were created in-camera during a three-year self-assigned artistic examination of a public museum environment.  Unaltered State of Reality is a very large collection of several thousand photographs which are grouped into five Sub-Collections: Copper Visions, Fractured Panes, Reflections, Textured Visions and Translucent Visions.  The thumbnail images above provide ten photographs from each of the five sub-collections from this extensive Collection.


From 2008 to 2010, I made 163 weekly visits to create images from a single location at the de Young Museum with an intention of creating art from the space, rather than visiting the museum to view the artwork of others. I set out to make photographs that provide a history of visitor interaction in a public space, while documenting the location from an artist’s point-of-view.


The photographs included within the Unaltered State of Reality Collection are content rich, incorporating environmental elements such as building materials and architectural design elements into the images during exposure. Witnessing change was both rapid and evolutionary, for example, the temporary erection of a plastic tent to house café visitors during cold weather conditions, or  fractured windowpanes that were quickly replaced.


The images I created during this long study represent a historical documentary of a public space.  When the images created were displayed for public viewing within the museum, the project came full circle; as with all of my work, the photographs create a dialog between the art and the viewer, and tell a metaphoric story about us through our engagement in public spaces.

Additional Project Information

The graph above plots the number of exposures taken during each of the 163 weekly visits to the de Young Museum.  The image map card below was provided to visitors during the exhibit to educate visitors about the photographs and where the images were taken within the museum space.

When studying a subject, I think about the on-site data and in-camera meta-data during a project.  For example, the number of exposures taken during weekly visits to a location, or creating an exposure map of the locations that I shoot from during a project, etc.  Analyzing the data provides a detailed history of a given project and serves as information during exhibits.  Further, the data itself is an complementary art form for exhibits.  Data mining yields information with a unique characteristic and often elegant graphical display that complements the photographs taken.  The availability of data analysis helps educate exhibit visitors and fine art print collectors with a richer understanding of projects and how I approach projects from inception through exhibition.

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