My earliest photographs focused on the urban landscape at dusk.  Later, I became  interested in the geometry of factories, smokestacks, and steel girders along Manhattan's lower West Side and Long Island City in Queens. I used the late-day light to flatten these industrial structures into clean, graphic shapes, looking past the frenzied energy of the streets.  ​When I moved from the city, my visual approach didn't change.  Inspired by the woods of the Northeast and the expansive horizons of the American West, I began tracing the same overlooked patterns along the edges of nature. My recent work looks at distant horizons—where hills meet the sky or shorelines meet the sea.  By distilling the landscape into simple outlines, these photographs frame vast expanses as discrete bands of color—a natural evolution of my urban work.