My cameras capture spirits, the gravity of which I understand and respect. I often feel as if the photographs are not my own, that my are feet guided by some mysterious force to this place or that, to capture something that is there. When that force tells me enough, I stop shooting. It is my work, yes, but it is also not. It the is the work of the people and places I am given permission to summon. It is a gift, and I am honored to have it. My cameras of choice are vintage film cameras from the 1960’s. I find that I am able channel spirits via this medium. I am especially drawn to peel-apart instant Polaroid film, since the images are one of a kind and not tampered. Skeptics would have all kinds of explanations for the appearance of orbs overlays of color, but I am uninterested in such skepticism. I decide to read these images as supernatural because art need not ascribe to the laws of the natural world.

I seek to summon the potential of invisible world of the world that surrounds us. Informed by my upbringing in Orthodox Judaism, my work is inspired unorthodox interpretation of Kabbalistic mysticism is the vocabulary of my work, as seen through the “Bess Houdini Series” (2014), the 16mm films of 2016, and my latest exhibition “That Happened Two Years Ago. This is Charleston” (2018).

But I am also a writer-photographer and am currently working on exhibition entitled “Mutant Beauty,” which accompanies the photo-novel I am currently working on. This work displays an obsessive desire to preserve Liz’s body and by extension ephemera relating to Elizabeth during the Taylor-Burton years. I understand the piece as encouraged and facilitated by the spirit of Elizabeth herself, who directs the artist into purchasing certain pieces. The installation would involve projecting some of the rare transparencies I have obtained of her on walls, showcasing original prints of the 1960’s, and including my own prosaic poems that are inspired from the images in the collection.

The title of this project is inspired by Elizabeth’s famed violet eyes and that were draped in two layers of eyelashes as a result of genetic mutation. I am fascinated with the physicality of Elizabeth Taylor’s almost unnatural beauty, by the ethereal nature of that very body, and by extension the ethereal nature of ephemera and Hollywood lore. Where have those lashes gone? Into the earth, my dear, Elizabeth would say. Tragic, I would respond. Where have old Hollywood gone? To you, my dear. Such dialogue occurs throughout the piece.