Artist Book, signed edition of 50, 2017. 18 stunning archival pigment prints housed in a plexiglass slipcase, Prints 11x17" each (book 8.5x11”). Removable rubber-band binding: the structure allows one to view the images as a book or as separate prints. The book doubles as a portfolio of images that can be arranged in any order. Printed with archival pigment inks on archival paper.

In the cover of darkness, beside the woods, garden, and lake, the only light available all summer was from the moon and stars. The full moon appeared an unusual number of times that summer in July and August: with a full moon, a harvest moon, and a blue moon. For this series, I returned to my archive to revisit an earlier work of photographs taken at night. 

My curiosity for photos of the sky – the outtakes of the previous series – was in the unique language of photography… How a negative is a kind of “ghost image” to its positive twin. When I digitally reversed the photos to create a negative image, I discovered an altered landscape. The forest tree line in the positive image became a glowing white space in the negative; and where the sky was darkest in the positive - luminous, muted colors appeared in the negative.

The language of photography is rooted in the mirrored relationships of light and dark, negative and positive, reversals and halves.  By inverting the photographs taken during my mother’s last summer (while she slept), I was able to reveal something otherwise obscured by darkness, discovering a shadow world. The visual language of night blacks and greys converts into a spectrum of hidden color. The resulting images, bathed in different color hues and softness, is not only an exploration of the slipstream between life and death. Here the sky harbors a hidden spectrum of color, registering its light as moons/ suns/ black holes. This work suggests a discovery of the possible - beyond the known, visible world.