The Unbelievable Bargains – Fun Times Why Not

Band Promo Shoot – March 2013

Mamiya 645j  – Ilford B& W

Nikon Fm – Shoppers colour Film stuck on a roof gutter after the snow melted , had fallen out a window. Dots are water marks.

http//unbelievablebargains.bandcamp.com/album/fun-times-why-not

 

Diana in the Greenhouse

Shown at the Platform Members wall – April 2014

My first test of my newly Salvation Army silent auction acquired Mamiya 645j medium format camera.

At the greenhouse of University of Manitoba with Diana Sawatsky, seen in the photo’s.

We talked about how cool it would be to make a film here, the main character someone that worked in a greenhouse.  These photos taken while we imagined this ended up being pretty much that film idea.

DTG 2014

Filmstrippers & The Electric Eye

 

This idea of this show started with Las Vegas and I saw links to photographs I’d taken in Winnipeg with ‘broken’ cameras that bled the light throughout the frame of the filmstrip, and portrait experiments of leaving the shutter open a long time and using a flash. I’m using canvas to match the relaxed energy of a “fine art’ shopping mall gallery.  Everything’s for sale, and ready to go, as if they are products for hotel rooms only.

The Sunset Strip. I go there for my respite job sometimes. Four times so far. We stay at the Circus Circus hotel cause it’s central. It’s the one with the rotating gambling bar from the film Fear and Loathing in Las Vegas. That bar is now an ice cream bar or something. I hated Las Vegas a little less each time, finding ways to get salvation in the amusement park of tourism that I’m not used to being from Winnipeg which has no tourists. I was panicked. I felt especially sensitive to the consumptive horror I’d feel in shopping malls, packaged deals and casino mazes. Armed with a camera , I’d be invincible to it. I could make my own logic composing within my camera, finding ways to translate my wonder and anxiety by studying the Strip architecture and the strange culture existing within. The size and grandeur of the advertising can be one of the best things about the Strip. If like me, you are attracted to anything flashing, strobing, colourful, reflecting, or geometric, there’s much to observe. Moth to the flame, I’m attracted to the music of the neon signs and can easily be lulled into a hypnotic state by the rhythm of the flashing lights, traffic or pedestrians. I feel this work expresses a lot of the different states of electricity and emotion one might feel on the inside at any one time while the outward look seems calm, perhaps while shopping, or partying, or in dreams.
In my photography I often play with obscurity, dream-like faces,  and lots of things happening at once.
DTG, 2014

 

 

Europa

Europa 2009

Taken on a 35mm Minolta camera that had a semi-broken lens after falling to the ground upon returning to Italy with my DJ friends from an excursion. The camera body worked but the lens was now stuck to one aperture, 2.8, and the lens was tilted inward on one side so the focus sat diagonally across the frame with blurred edges on two corners. Needless to say, I was forced to look for new ways to photograph. Anything not 2 – 3 feet away was out of focus, so I started to play alot with the open shapes unfocused landscape brings. My mood at the time was also affecting the photos. I was a quite unhinged from any responsibility, wandering through Europe on dime budget and $6 Ryanair flights, deciding in Barcelona to start sleeping outside to save on costs and for adventure. I felt like an outsider wandering the streets of these famous cities.  I was taking hobo’s-eye-veiw photographs, but also knew at the time that this broken camera and my trip was expanding my photographic vocabulary and style. One of those moments where you feel yourself breathing in new knowledge in big gulps.

This reckless drifting experimentation was part of my style at this time, working mostly on intuition, and spontaneity, and precarious.

DTG 2014