At the Art Institute of Chicago around 1969, I began photographing my wife nude, and began making multiple image prints.
For over ten years I explored various techniques and processes while photographing the nude.
Then with the Apple IIe in the mid 1980's, I began exploring digital image making.
At first I was intrigued in juxtaposing portraits with nudes, but that interest evolved into one of juxtaposing pigment against pixels, and past with present. In 1990, I began a series of Palladium diptychs of nudes in water.
I was fascinated with the repetition of time and space and the metaphors of the nude, the water and the light.
These diptychs evolved over five years and were exhibited widely.
I was also exploring a novelty 3-D camera that had four lenses.
It created a multiple image in one instant and I combined six moments in time to create my picture with 24 frames.
These pictures were very much about time and animation. While exploring digital image making, I happened upon the idea of scanning a finished image to be used as a module for a new series of images.
Colorizing and repeating the original image many times, the first image became lost. The new image was a composite of 3000 to 4000 or more torsos, so small that it was almost unknowable what comprised the new image.
From these, came the idea of taking the water diptychs as a module and combining them into something new.
These became the Lilith series, an homage to the mythic figure.
These pictures have a surreal quality that draws from photographic reality but surely they cannot be real.