PHOTOGRAPHS OF STONE
When viewed from the park’s Cape Ann coastline overlook, this former quarry is a dramatic sight. From above, the orderly arrangement and overall volume of stone is striking. Intrigued by the massive piles of tossed granite, I felt instantly drawn closer. In order to capture the rocks under the best natural light, as well as to deepen my comfort level with nature, I camped nearby. This allowed me to develop an intimacy with the land, which is reflected within this body of work.
This series unifies different ideas, some premeditated, others that evolved through seeing and photographing, and others that surfaced afterwards during the editing and titling process. I went into this project with an interest in exploring quarry stone. The stones’ shapes, tones, textures, and scale were all of initial interest to me. I then spent time sitting, being and getting a sense for the place and its formations. While my emphasis on shape, tone, texture and scale remained throughout the project, after some time passed, I began seeing the distinct geometric shapes, the spheres, the many triangles and other polygons. My natural inclination to uncover the order, even the mathematical, within the randomness of the stone piles emerged. What also emerged was an illumination of the “almost.” I began to revisit this idea of appreciating what exists even in the negative space and what can be seen in the crevices rather than what is not. I have tried with the stones to capture elements “almost” touching, detail that we can “almost” see while embracing the intimate relationships between the stones and their surroundings.
The title of each photograph also describes some mathematical quality I either see or feel within the stone. Some titles depict geometric characteristics within the arrangements, such as “Inscribed” In this image the oblate stone is positioned to almost touch the exterior triangle in three locations; the egg shape is “inscribed” within the triangle. Other titles refer to specific mathematical ideas such as in “Curvature” and “Singularity.”
This body of work is an attempt to bridge two worlds. In a personally meaningful way, it reflects the unification of two areas of deep interest, math and photography. It also shows my style of photographing which looks further and deeper into everyday surroundings to discover what perspectives may exist both in the object and in the space around the object