This body of work I've titled “Flat Earth Theory” began with an exploration of light on a tiny object. The tiny object was a bird nest. The light came through a large south facing window about 20 feet from a large brick house. The house blocked the path of direct sun which created a diffused light with a curious intensity. The surface that held the hummingbird nest was a square topped antique table with curved legs. The dark-stained tabletop is about 20 inches square and has a nice array of character marks gained during it's long existence. While seeming restrictive, the continued use of this same small table in the same space, I believe, will supply an organic evolution of thought as I work through this series. The combination of the curious light, the markings on the table, the proximity of a light toned wall, and the shallow depth of focus, reminded me of images I've seen of old illustrations of how the flat earth appeared in relationship to the rest of the universe. These images usually illustrated great dangers near the edges of the earth, and the safety of maintaining an existence towards the middle zones. In my mind these illustrated dangers represent the theories we create for ourselves, and those created for us by individuals and groups. Ultimately these imagined dangers keep us from reaching beyond the familiar feeling of safety that becomes too important.

            The subtle mix of warm and slightly cool tones are meant to work with the delicate feel of the kozo paper these images are printed on. Kozo paper is made primarily from mulberry fibers. Because the paper has a relatively soft surface, ink is deeply absorbed into the paper but the dense fibers keep ink from spreading. Sharpness and black density add a tremendous feeling of depth to the prints. Kozo paper is exceptionally strong and completely archival.