I had two fascinations in my teenage years: the composition of rocket fuels and the revealing quality of light. It propelled me to apply the medium of photography to art and science during my 10-year chemistry study. The art influenced the clarification of my sociopolitical views. I arrived in Canada with little more than my education, wife, child and Geneva Convention refugee passport. I gradually found the application for my creativity by starting or co-developing three businesses that created employment for many.
My return to art photography was an unintended consequence of my growing concern regarding the capacities of Ontario's ecology to sustain the ecological footprint expected by the ever-increasing human population.
I see photography as a mirror of intent; it reflects the spectrum of reality processed by the consciousness of a photographer. The medium became then a credible source of evidence documenting the evolution of both - the photographers’ perceptions and recorded realities. Simply said, it is a tool that helps to understand the world better. It is also more about the process rather than a point of arrival. It compels me to redefine realities at all times. Suppose my work engages an audience along the way. In that case, its contribution should not be measured by my attempt to define a single destination. That is the discretion of each viewer.
My creative interest was evolving exhibition projects focused on two distinct themes. One is ecology, or the relationship between living organisms and their environment. I found it captivating to compile evidence of how Canadian ecology works with its built-in capacity for self-preservation. I am interested in the limits of these processes and the consequences of their failure. I progress in this framework of my interest as continuously evolving projects not intended, at this point, for public exhibitions.
The second focus in my work is social ecology, which I narrowed down to one city overloaded with a host of issues. Among many others are massive de-industrialization, misguided urban planning, the protection of the UNESCO Biosphere Reserve, integration of multiple ethnic communities, and a legacy of industrial pollution. I abandoned this project, unable to find a public venue willing to exhibit its progression.
I see the future of our world defined only by abilities to maintain the intelligent balance between the pro-activity and reactivity of the human population.
I use modern digital media informed by traditional photographic techniques, tools, and practices learned from years spent in darkrooms during my academic and professional career. All stages of printing, finishing, and framing were done by me, using natural and water-based materials to portray my photographic subjects faithfully and to ensure the archival quality of my work.