As a photographer, I work by night, more specifically, during the transition from daylight to night. In this liminal period, natural light gives way to streetlight, moonlight, window light, as well as advertisement and surveillance lighting. Several years ago, I began to use color film to capture how colors flare up near streetlights and how the intense blue of the sky complements the ambers, yellows, and greens of artificial lights.
I have been a roamer of limbo regions, one of our last frontiers—places that seem unloved and overlooked, cracks in the urban facade. When I discover a site that attracts me, I return to it at dusk. The first few times, the atmospheric conditions or the artificial lighting may not be quite right. But on a subsequent visit, I may find that a streetlight has gone out, creating the odd shadow that renders the space more angular. I’m delighted by such discrepancies, which are nearly invisible during the daytime: the unexpected and asymmetric, the quietly out of kilter.
