Photography

AB: You work with a very diverse crowd of women in your nudes. How do you select your models? few are models in the traditional nomenclature. for projects such as the Mature women (women roughly age 40 or over) work, it entailed a wide scope of outreach: craig's List, facebook, Emails, Referrals, my website; and after those efforts, subjects began to contact me and continue to do so. I've used Model Mayhem to work with certain women. And earlier in the 90's when Nerve.com brought my work to attention, a variety of people would write me. Increasingly, photographers or other models will refer subjects to me, which is very kind of them. And some people just find me through the Internet, and we talk.

THEY USED TO call them " Bastard Sizes " according to Bryan Williamson of Arc & Throstle Press — who printed one of my books. This was 160 mm in width by 200 mm in height. An unusual size, wider than the norm, but it suited me. I was writing lines with seven stresses (fourteeners) and what I thought of as " cadenced " poems where the unit was a sentence, which, if it ran over the margin, was indented when continuing below. " Bastard sizes " are bastards because they need to be cut down from standard sizes. American " letter " size is broader than A4, and American poets seem to favour bastard sizes more often than poets do here in the UK.

During junior year of college, I took a course called Screens and Screenings. One of the very first things we were assigned to do was a sauntering exercise based on Guy Debord's theory of the dérive. But instead of reenacting the urban flaneuse, aimlessly wandering about the avenues with a turtle on a leather leash, it was compulsory to discover and track a certain pattern under one condition, that whatever "law" of logic you trail the course by, it must be based on screens. We came back with a series of photographs. Some were drawn towards ATMs and 'Open 24 Hours' LED panels of Williamsburg bodegas, and some had their customary pilgrimage to Time Square. Once I began physically entrusting my body under the command of screens, I realized how psychologically embedded the geographical and somatic contours of the city actually were 1 . As much as buildings define a cityscape, the seamless proliferation of screens at an exhilarating speed forms a mirage of computer screens projected onto the facades of architecture. Images are constantly streaming, juxtaposed, compared, contrasted, and 1 "Cities have psychogeographical contours with constant currents, fixed points and vortexes that strongly discourage entry into or exit from certain zones." Knabb, Ken. "Theory of the Dérive." Situationist International Online. December, 1958.