I've lived in the UK, Canada, the USA, and Italy, and have spent extended periods in Germany, Bhutan, Thailand and India.  A plan to move back the UK has been at least temporarily scuttled by the covid-19 pandemic   My background was in literature, specializing in modern and contemporary poetics, but that career came to an abrupt end when I suffered a severe spine injury at the beginning of the millennium.

My first serious forays into photography were much influenced by Ernst Haas's colour work with long shutter speeds to blur motion, and an emphasis on abstraction. When I returned to photography after recovering from the spine injury, I continued this investigation of 'alternative' techniques, adding intentional camera movement to blur static subjects, and a range of in-camera multiple exposure techniques made possible by digital cameras. But I've generally spent a lot more time looking at paintings than photographs, and perhaps that's why, even with digital techniques, the final work is always the physical print, rather than an image on a screen (and the screen images are sometimes modified to more closely approximate the print).  In the end, I'm trying to create works that can sustain my own interest, both intellectual and emotional, over time - works that can hold a gaze. 

My earlier work was much concerned with pushing techniques to see what would happen, what might be revealed. But more and more, my work combines my earlier interest in poetics and the concept of a fragmented, multiple self, with an increasingly embodied sense, developed through meditation practice, of the relation between self and world - that what we see, hear, smell, taste, feel, think - in short, both the world as object and the self as subject - are fabrications we mistake for realities.   We are born not into the world, but with a world, which disappears along with us - however much it may hurt when you stub your toe.


Line of Flight. Toronto: Shuffaloff Press, 1998. 

Apocalypse and After: Modern Strategy and Postmodern Tactics in Pound, Williams, and Zukofsky. Tuscaloosa and London: University of Alabama Press, 1995.

“The Names,” in The Catacombs, catalogue for an exhibition by Thomas Lyon Mills, Bob Rauschenberg Gallery, Fort Myers, Florida, 2009.

“The Silence of the Mime,” in First Intensity (Winter 1998), 35-47. "The Green Man," in Boulevard nos. 25 and 26 (Spring 1994), 1-14.

"The Museum: By Night," in Boulevard nos. 23 and 24 (Fall 1993), 115-16.

"A Figure of Moment," in To 1.2 (Spring 1993), 18-23.

"From A to An: The Postmodern Twist in Louis Zukofsky." Reprint. Poetry Criticism. New York: Gale Research, 1995: 381-392.

"Robert Creeley: In Conversation,” in The Review of Contemporary Fiction 15.3 (Fall 1995), 82-94.

"Narrative Nets and Lyric Flights in Joyce's Portrait," in James Joyce Quarterly 29.2 (Winter 1992), 297-314.

"From A to An: The Postmodern Twist in Louis Zukofsky," in Sagetrieb 10.3 (Winter 1991), 37-62.

"Stages of Love, Steps to Hell: Dante's Rime Petrose," in MLN 101 (January 1986), 157-188.

"Soundings: The 'An' Song Beginning Zukofsky's 'A'‑22," in Sagetrieb 5 (Spring 1986), 95-106.

"Bob Brown," in Dictionary of Literary Biography, vol. 45: American Poets, 1880-1945, ed. Peter Quartermain (New York: Garland, 1986), 66-73.

"Williams, Botticelli, and the Renaissance," in William Carlos Williams: Man and Poet, ed. Carroll F. Terrell (Orono, Maine: National Poetry Foundation, 1983), 417‑33.

Exhibitions (poetry and art)

“Between and Around: Words,” Temple University Rome Art Gallery, September 2009.

“Al di la’ delle parole,” Studio Tiepolo 38, Rome, January - March 2009.

“Psyche Says,” Kommunale Galerie Schlangenbad, Schlangenbad, Germany, September - October 2007.

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