LB: Who have been your influences?
MB: Helen Frankenthaller, Mark Rothko, Morris Louis,
LB: Does your work reflect personal experiences?
MB: My work reflects my past life experiences.
LB: How has your work been affected by your past experience as a painter?
MB: My work has been greatly affected by the abstract expressionists, and in particular the color field painters of the late '50s and early '60s.
Morris Louis' "Unfurls" and "Veils" have had a particular influence on this "Transported" series. His veils even look like the curtain in the car wash, and his "unfurls" look like the water running off the windshield.
LB: When working in a series do you preconceive the direction your work will take?
MB: I get inspiration for a particular subject matter or image source that I can visually relate to past experiences and memories.
Initially I don't have a preconceived direction for the work, and it tends to be post conceptualized after working with the images for a period of time.
LB: Do you believe a series of work best reflects your ideas or do you feel individual works make powerful statements?
MB: I work in series because the moving image is an important component of my photography.
LB: Has the digital age changed the way you see your art and others? Why or why not?
MB: Digital photography has profoundly changed the nature of photography, changing it from a static image to a fluid image. Digital is inclusive of a broader audience due to its pervasive nature, whereas film is exclusive because of its physical nature.
LB: How has working digitally enhanced your production and creative output?
MB: I am more productive working digitally. I can shoot more, print more quickly, see my images immediately, and I have more freedom to experiment.
MB: Helen Frankenthaller, Mark Rothko, Morris Louis,
LB: Does your work reflect personal experiences?
MB: My work reflects my past life experiences.
LB: How has your work been affected by your past experience as a painter?
MB: My work has been greatly affected by the abstract expressionists, and in particular the color field painters of the late '50s and early '60s.
Morris Louis' "Unfurls" and "Veils" have had a particular influence on this "Transported" series. His veils even look like the curtain in the car wash, and his "unfurls" look like the water running off the windshield.
LB: When working in a series do you preconceive the direction your work will take?
MB: I get inspiration for a particular subject matter or image source that I can visually relate to past experiences and memories.
Initially I don't have a preconceived direction for the work, and it tends to be post conceptualized after working with the images for a period of time.
LB: Do you believe a series of work best reflects your ideas or do you feel individual works make powerful statements?
MB: I work in series because the moving image is an important component of my photography.
LB: Has the digital age changed the way you see your art and others? Why or why not?
MB: Digital photography has profoundly changed the nature of photography, changing it from a static image to a fluid image. Digital is inclusive of a broader audience due to its pervasive nature, whereas film is exclusive because of its physical nature.
LB: How has working digitally enhanced your production and creative output?
MB: I am more productive working digitally. I can shoot more, print more quickly, see my images immediately, and I have more freedom to experiment.