Bulls Butchers Bathroom
© 2005, Pigment print, 6 x 18 inches.
Locked-Up Bicycle
© 2005, Pigment print, 9.2 x 18 inches.
Stereo Controlled Pearry Place
© 2005, Pigment print, 6.2 x 18 inches.
Counsel Flats
© 2005, Pigment print, 18 x 9.1 inches.
Roll-up Doors
© 2005, Pigment print, 6.3 x 18 inches.
The Three Crosses
© 2005, Pigment print, 6.8 x 18 inches.
© 2005, Pigment print, 6.9 x 18 inches.
Trafic Reflections
© 2005, Pigment print, 8.3 x 18 inches.
Post No Bills
© 2005, Pigment print, 18 x 8.5 inches.
No Prostitute Motorcrossing
© 2005, Pigment print, 8.4 x 18 inches.
Spitalfields Half House
© 2005, Pigment print, 5.5 x 18 inches.
Fishtail Bobber
© 2005, Pigment print, 5.4 x 18 inches.
Good Things to Eat
© 2005, Pigment print, 15.6 x 12 inches.
Shok1ing! Boy
© 2005, Pigment print, 12 x 17.4 inches.
Luke B. Massive +++
© 2005, Pigment print, 18 x 9.1 inches.
Fishmonger Barbershop
© 2005, Pigment print, 9 x 18 inches.
Kissing Bobbies
© 2005, Pigment print, 11.1 x 18 inches.
The Three Faces
© 2005, Pigment print, 12 x 18 inches.
Tube Man
© 2005, Pigment print, 12 x 15.8 inches.
Cloud Watching
© 2005, Pigment print, 18 x 6 inches.
Public Life
© 2005, Pigment print, 12 x 17.8 inches.
About This Series:
This is the first sojourn into my Markmaking series. I shot the images the summer of 2005 while I was in England. I had visited London's tourist spots on my previous visit, and for this trip, I was going to record why I fell in love with the place.

I had purchased my first digital SLR camera prior to leaving. The trip was going to give me a chance to figure why everyone was saying digital cameras were going to be the death of traditional color photography. When I returned home, I calculated I had shot over 800 images in 7 days. I then knew why digital photography would eventually kill the color darkroom.

As I started editing my hoards of digital files, I wasn't sure how I was going to present the images. For the most part, a single image wasn't conveying the amazing experiences I had while I was shooting. I wanted everyone to understand why England is so wonderful. During that time, I was studying the Dada artists and the idea of photomontage cut through my artist's block (it's just like writer's block). I finally knew how to present this series; multiplicity and juxtaposition.
This process revealed two amazing things to me: first, human-made marks and lines within the images wanted to connect with other images; second, when the images combined, they created a new, fictional image that was more fascinating that the originals. It was marks I focused on when shooting and that seemed the local title for the series.
These images are how I saw England, and how I see most things; they are fractured pieces that connect and make something even more exciting than visual facts.
I love imagination. I'm lucky. My parents never squashed mine. (It doesn't hurt that my father is an artist.)

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