I mostly make photography the 'old fashion way' capturing the images on film and printing them in a darkroom. I found that by using a film camera I can more fully engaged with the subject of my pictures, the mood of the scene, the feelings I resent. I take my time driven by the intent to capture an emotional dimension if at all possible. I found freedom in this process becoming more part of the image than being an observer.

Rather than looking for achieving perfection thus, I choose to embrace the imperfections of our world - an exercise in accepting what is. A week later, a month later, when ever I get to develop the films, the angst I know fed by the thought that all might be fogged due to the airport x-ray machines is always eclipsed by the anticipated excitation of what I will (re)discover.

I often start with a figurative painting or a portrait. Then I adapt to the particular situation by subverting the picture plane in a variety of ways. Usually I either contract or expand the depicted space using one or more floating, intruding, or incongruous objects or subjects. My aim is to develop the classic genre of figurative work or portraiture into something more psychologically expressive and amusing. I chiefly work in pastel, oil pastel, or watercolor.

I start with photographs and do pure photography or apply artistic modifications using computer software. Some images are born in my imagination and are created in the computer. However I do it, the final image is printed using pigment ink on canvas or perhaps lustre paper or matte paper. The paper images are framed and the canvas images are put on stretcher bars for hanging in domestic and corporate environments. Some images get further treatment using oil pastels, markers, colored pencils, or other media. i love to experiment and see what happens and often get wonderful surprises!

Through the lens, everyday life is captured and heightened to convey a myriad of moods and impressions. Using varying combination of light, form, motion, and grain, these fleeting moments are edited to offer a view of the mundane, the romantic, the brooding, and the surreal.

These images are captured primarily on film, then printed through traditional process on sepia-or selenium-toned black and white silver gelatin paper, or through converting to digital files and printed with archival pigment ink.

A 2009 review by Michael Yokum for Open Studios can be accessed in the archives of SF Art News http://sfartnews.wordpress.com/2009/10/16/burnt-kettle-the-art-of-rebecc...

My photography draws from my background as a director and lighting designer for theatre. I create mixed scale scenarios, using the disorientation that results from these surreal scenes to draw attention to the beauty and power of everyday objects and daily interactions. I encourage people to see things that they might otherwise overlook. The fantasy of being tiny in a giant environment is universally compelling. Whether it is interpreted playfully, politically or spiritually, we have all had some experience of feeling miniscule compared to our surroundings or our challenges. I have exhibited this series since 1996, when I made my first nerve-racking public appearances on the walls of San Francisco coffee shops. Since 2000, I have been a full time artist, showing at top juried art festivals around the country, and around the world via the web, and I published my first book, “Overlooked Undertakings” in 2009. I feel passionately about creating community, and building bridges between people, so when my pictures spark a conversation, or evoke a shared smile I feel tremendous delight. My work has been published, collected and commissioned internationally. I live and work in my native San Francisco Bay Area.

The effects of light and the sky are intriguing. Light thoroughly transforms an object or a scene. Shadows, at the same time, are evocative and mysterious; they indicate the presence of something not necessarily visible in the image. An allegorical feeling is the result. My work often captures this. Language in all its forms is a great source of entertainment for me. In addition, many things appeal to my sense of humor in unexpected ways. My photographs often contain words as well as incongruous objects.

This year I will be featuring images from a new body of work, still in process. These are mixed media pieces on both canvas and water color paper incorporating multiple mediums including acryllic, ink, spray paint and water color as well as my own photography, found images,objects and text.The work is evocative and intended to provoke the imagination of the viewer. I hope you will join me for the launch of this new work!

What you see in this body of work is a totally new direction for me.  I've been photographing exclusively in digital media for about 5 years now. The instantaneous nature of digital work is appealing and satisfying. That said, having learned photography in a conventional darkroom, I yearned to somehow get my hands "back on the prints” and experience that feeling of surprise and wonder that only comes from watching an image develop in a tray and the experience of how each print might be different based on temperature, developer mix etc. So I recently began experimenting with a new process to provide me a proxy for the darkroom experience: Hand washing of my digital prints. To create a unique image, I soak and wring the paper in warm water until it softens. I then dry and iron the print, which due to the unique paper/ink combination and the conditions under which it was washed produce a one of a kind image that has almost zero probability of duplication. (Note: The images shown here are photos of actual prints, none of which will be identical after washing.  So please know that each and every print will vary in effect.)