Heart of the Cave
Heart of the Cave

Pigment prints, collage, 129" x74", 2014

I shot source material for Slabs at the Ellora Caves in Maharashtra, India. The “caves” are Hindu, Jain, and Buddhist temples carved, not built, from the living rock. I was drawn to the amalgam of manmade and natural marks on the rock walls that remain around the temples. From these photographs, I created a series of large scale collages. Some are rectangular, which look at once like traditional photographs and trompe l’oeil stone slabs. Others take their shape from ecclesiastic art and architecture including a diptych, a stele, and an altarpiece. The cave and the temple, at opposite ends of a spectrum between asceticism and opulence, both act as intermediaries between the material and the spiritual.


Fragments
Fragments

archival pigment prints, collage, 51" x 161", 2015.

I shot source material for Slabs at the Ellora Caves in Maharashtra, India. The “caves” are Hindu, Jain, and Buddhist temples carved, not built, from the living rock. I was drawn to the amalgam of manmade and natural marks on the rock walls that remain around the temples. From these photographs, I created a series of large scale collages. Some are rectangular, which look at once like traditional photographs and trompe l’oeil stone slabs. Others take their shape from ecclesiastic art and architecture including a diptych, a stele, and an altarpiece. The cave and the temple, at opposite ends of a spectrum between asceticism and opulence,both act as intermediaries between the material and the spiritual.


Cave of the Heart, Installation Shot
Cave of the Heart, Installation Shot

I shot source material for Slabs at the Ellora Caves in Maharashtra, India. The “caves” are Hindu, Jain, and Buddhist temples carved, not built, from the living rock. I was drawn to the amalgam of manmade and natural marks on the rock walls that remain around the temples. From these photographs, I created a series of large scale collages. Some are rectangular, which look at once like traditional photographs and trompe l’oeil stone slabs. Others take their shape from ecclesiastic art and architecture including a diptych, a stele, and an altarpiece. The cave and the temple, at opposite ends of a spectrum between asceticism and opulence,both act as intermediaries between the material and the spiritual.


Cave of the heart
Cave of the heart

Pigment prints, collage, 67' x 46" each, 2014.

I shot source material for Slabs at the Ellora Caves in Maharashtra, India. The “caves” are Hindu, Jain, and Buddhist temples carved, not built, from the living rock. I was drawn to the amalgam of manmade and natural marks on the rock walls that remain around the temples. From these photographs, I created a series of large scale collages. Some are rectangular, which look at once like traditional photographs and trompe l’oeil stone slabs. Others take their shape from ecclesiastic art and architecture including a diptych, a stele, and an altarpiece. The cave and the temple, at opposite ends of a spectrum between asceticism and opulence,both act as intermediaries between the material and the spiritual.


Slab I
Slab I

Archival inkjet prints, collage, 58" x 51", 2013.

I shot source material for Slabs at the Ellora Caves in Maharashtra, India. The “caves” are Hindu, Jain, and Buddhist temples carved, not built, from the living rock. I was drawn to the amalgam of manmade and natural marks on the rock walls that remain around the temples. From these photographs, I created a series of large scale collages. Some are rectangular, which look at once like traditional photographs and trompe l’oeil stone slabs. Others take their shape from ecclesiastic art and architecture including a diptych, a stele, and an altarpiece. The cave and the temple, at opposite ends of a spectrum between asceticism and opulence,both act as intermediaries between the material and the spiritual.


Slab II
Slab II

Archival inket prints, collage, 55 1/2 x 44 1/2, 2013.

I shot source material for Slabs at the Ellora Caves in Maharashtra, India. The “caves” are Hindu, Jain, and Buddhist temples carved, not built, from the living rock. I was drawn to the amalgam of manmade and natural marks on the rock walls that remain around the temples. From these photographs, I created a series of large scale collages. Some are rectangular, which look at once like traditional photographs and trompe l’oeil stone slabs. Others take their shape from ecclesiastic art and architecture including a diptych, a stele, and an altarpiece. The cave and the temple, at opposite ends of a spectrum between asceticism and opulence,both act as intermediaries between the material and the spiritual.


Slab II, Detail
Slab II, Detail

I shot source material for Slabs at the Ellora Caves in Maharashtra, India. The “caves” are Hindu, Jain, and Buddhist temples carved, not built, from the living rock. I was drawn to the amalgam of manmade and natural marks on the rock walls that remain around the temples. From these photographs, I created a series of large scale collages. Some are rectangular, which look at once like traditional photographs and trompe l’oeil stone slabs. Others take their shape from ecclesiastic art and architecture including a diptych, a stele, and an altarpiece. The cave and the temple, at opposite ends of a spectrum between asceticism and opulence,both act as intermediaries between the material and the spiritual.


Slab 3, Installation Shot
Slab 3, Installation Shot

I shot source material for Slabs at the Ellora Caves in Maharashtra, India. The “caves” are Hindu, Jain, and Buddhist temples carved, not built, from the living rock. I was drawn to the amalgam of manmade and natural marks on the rock walls that remain around the temples. From these photographs, I created a series of large scale collages. Some are rectangular, which look at once like traditional photographs and trompe l’oeil stone slabs. Others take their shape from ecclesiastic art and architecture including a diptych, a stele, and an altarpiece. The cave and the temple, at opposite ends of a spectrum between asceticism and opulence,both act as intermediaries between the material and the spiritual.


Slab 3
Slab 3

Pigment prints, collage, 34” x 48", 2014.

I shot source material for Slabs at the Ellora Caves in Maharashtra, India. The “caves” are Hindu, Jain, and Buddhist temples carved, not built, from the living rock. I was drawn to the amalgam of manmade and natural marks on the rock walls that remain around the temples. From these photographs, I created a series of large scale collages. Some are rectangular, which look at once like traditional photographs and trompe l’oeil stone slabs. Others take their shape from ecclesiastic art and architecture including a diptych, a stele, and an altarpiece. The cave and the temple, at opposite ends of a spectrum between asceticism and opulence,both act as intermediaries between the material and the spiritual.


Ruins
Ruins

Pigment prints, collage, 100' x 46" each, 2016.

I shot source material for Slabs at the Ellora Caves in Maharashtra, India. The “caves” are Hindu, Jain, and Buddhist temples carved, not built, from the living rock. I was drawn to the amalgam of manmade and natural marks on the rock walls that remain around the temples. From these photographs, I created a series of large scale collages. Some are rectangular, which look at once like traditional photographs and trompe l’oeil stone slabs. Others take their shape from ecclesiastic art and architecture including a diptych, a stele, and an altarpiece. The cave and the temple, at opposite ends of a spectrum between asceticism and opulence, both act as intermediaries between the material and the spiritual.

Heart of the Cave
Fragments
Cave of the Heart, Installation Shot
Cave of the heart
Slab I
Slab II
Slab II, Detail
Slab 3, Installation Shot
Slab 3
Ruins
Heart of the Cave

Pigment prints, collage, 129" x74", 2014

I shot source material for Slabs at the Ellora Caves in Maharashtra, India. The “caves” are Hindu, Jain, and Buddhist temples carved, not built, from the living rock. I was drawn to the amalgam of manmade and natural marks on the rock walls that remain around the temples. From these photographs, I created a series of large scale collages. Some are rectangular, which look at once like traditional photographs and trompe l’oeil stone slabs. Others take their shape from ecclesiastic art and architecture including a diptych, a stele, and an altarpiece. The cave and the temple, at opposite ends of a spectrum between asceticism and opulence, both act as intermediaries between the material and the spiritual.


Fragments

archival pigment prints, collage, 51" x 161", 2015.

I shot source material for Slabs at the Ellora Caves in Maharashtra, India. The “caves” are Hindu, Jain, and Buddhist temples carved, not built, from the living rock. I was drawn to the amalgam of manmade and natural marks on the rock walls that remain around the temples. From these photographs, I created a series of large scale collages. Some are rectangular, which look at once like traditional photographs and trompe l’oeil stone slabs. Others take their shape from ecclesiastic art and architecture including a diptych, a stele, and an altarpiece. The cave and the temple, at opposite ends of a spectrum between asceticism and opulence,both act as intermediaries between the material and the spiritual.


Cave of the Heart, Installation Shot

I shot source material for Slabs at the Ellora Caves in Maharashtra, India. The “caves” are Hindu, Jain, and Buddhist temples carved, not built, from the living rock. I was drawn to the amalgam of manmade and natural marks on the rock walls that remain around the temples. From these photographs, I created a series of large scale collages. Some are rectangular, which look at once like traditional photographs and trompe l’oeil stone slabs. Others take their shape from ecclesiastic art and architecture including a diptych, a stele, and an altarpiece. The cave and the temple, at opposite ends of a spectrum between asceticism and opulence,both act as intermediaries between the material and the spiritual.


Cave of the heart

Pigment prints, collage, 67' x 46" each, 2014.

I shot source material for Slabs at the Ellora Caves in Maharashtra, India. The “caves” are Hindu, Jain, and Buddhist temples carved, not built, from the living rock. I was drawn to the amalgam of manmade and natural marks on the rock walls that remain around the temples. From these photographs, I created a series of large scale collages. Some are rectangular, which look at once like traditional photographs and trompe l’oeil stone slabs. Others take their shape from ecclesiastic art and architecture including a diptych, a stele, and an altarpiece. The cave and the temple, at opposite ends of a spectrum between asceticism and opulence,both act as intermediaries between the material and the spiritual.


Slab I

Archival inkjet prints, collage, 58" x 51", 2013.

I shot source material for Slabs at the Ellora Caves in Maharashtra, India. The “caves” are Hindu, Jain, and Buddhist temples carved, not built, from the living rock. I was drawn to the amalgam of manmade and natural marks on the rock walls that remain around the temples. From these photographs, I created a series of large scale collages. Some are rectangular, which look at once like traditional photographs and trompe l’oeil stone slabs. Others take their shape from ecclesiastic art and architecture including a diptych, a stele, and an altarpiece. The cave and the temple, at opposite ends of a spectrum between asceticism and opulence,both act as intermediaries between the material and the spiritual.


Slab II

Archival inket prints, collage, 55 1/2 x 44 1/2, 2013.

I shot source material for Slabs at the Ellora Caves in Maharashtra, India. The “caves” are Hindu, Jain, and Buddhist temples carved, not built, from the living rock. I was drawn to the amalgam of manmade and natural marks on the rock walls that remain around the temples. From these photographs, I created a series of large scale collages. Some are rectangular, which look at once like traditional photographs and trompe l’oeil stone slabs. Others take their shape from ecclesiastic art and architecture including a diptych, a stele, and an altarpiece. The cave and the temple, at opposite ends of a spectrum between asceticism and opulence,both act as intermediaries between the material and the spiritual.


Slab II, Detail

I shot source material for Slabs at the Ellora Caves in Maharashtra, India. The “caves” are Hindu, Jain, and Buddhist temples carved, not built, from the living rock. I was drawn to the amalgam of manmade and natural marks on the rock walls that remain around the temples. From these photographs, I created a series of large scale collages. Some are rectangular, which look at once like traditional photographs and trompe l’oeil stone slabs. Others take their shape from ecclesiastic art and architecture including a diptych, a stele, and an altarpiece. The cave and the temple, at opposite ends of a spectrum between asceticism and opulence,both act as intermediaries between the material and the spiritual.


Slab 3, Installation Shot

I shot source material for Slabs at the Ellora Caves in Maharashtra, India. The “caves” are Hindu, Jain, and Buddhist temples carved, not built, from the living rock. I was drawn to the amalgam of manmade and natural marks on the rock walls that remain around the temples. From these photographs, I created a series of large scale collages. Some are rectangular, which look at once like traditional photographs and trompe l’oeil stone slabs. Others take their shape from ecclesiastic art and architecture including a diptych, a stele, and an altarpiece. The cave and the temple, at opposite ends of a spectrum between asceticism and opulence,both act as intermediaries between the material and the spiritual.


Slab 3

Pigment prints, collage, 34” x 48", 2014.

I shot source material for Slabs at the Ellora Caves in Maharashtra, India. The “caves” are Hindu, Jain, and Buddhist temples carved, not built, from the living rock. I was drawn to the amalgam of manmade and natural marks on the rock walls that remain around the temples. From these photographs, I created a series of large scale collages. Some are rectangular, which look at once like traditional photographs and trompe l’oeil stone slabs. Others take their shape from ecclesiastic art and architecture including a diptych, a stele, and an altarpiece. The cave and the temple, at opposite ends of a spectrum between asceticism and opulence,both act as intermediaries between the material and the spiritual.


Ruins

Pigment prints, collage, 100' x 46" each, 2016.

I shot source material for Slabs at the Ellora Caves in Maharashtra, India. The “caves” are Hindu, Jain, and Buddhist temples carved, not built, from the living rock. I was drawn to the amalgam of manmade and natural marks on the rock walls that remain around the temples. From these photographs, I created a series of large scale collages. Some are rectangular, which look at once like traditional photographs and trompe l’oeil stone slabs. Others take their shape from ecclesiastic art and architecture including a diptych, a stele, and an altarpiece. The cave and the temple, at opposite ends of a spectrum between asceticism and opulence, both act as intermediaries between the material and the spiritual.

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