The Broad Museum in Los Angeles announces its strong geometrical form and presence, enticing the eye both from inside and out.

 The pierced honeycomb structure allows light to penetrate the interior, hitting, lifting, bouncing, elevating and illuminating with patterns, reflections and shadows, creating a shifting world of virtual art.  Daylight on the exterior surfaces creates yet another world, less subtle and less playful, as early morning passes to noon and beyond to dusk, twilight and night, which illuminates with distinction the myriad cellular indentations.

‘Architecture should speak its time and place, but yearn for timelessness'.  Frank Gehry

Existing comfortably within the passage of time, these buildings exude permanence, while indicating the role they play in society, and the relevance of the materials and technology used.

The sites seen here were all built in the 20th century and have not yet stood the test of time.  However, I believe that the aesthetics of their form and structure, while appearing to dominate, are closely aligned to their function as museums, research institutes, concert halls and public spaces, and ultimately will lend them timelessness.

Multifaceted fragments bouncing off reflective surfaces appear as if in a kaleidoscope.

Patterns and movements created by the dispersion of light, are reminders of an impermanent presence, fractured by glass, metal, water and air.

balconies small if at all

and views congested

by all the towers tall

expansion of glass mirroring

others in alienation

no sound of birds

or light flutter of leaves

in these urban spaces

where there are no trees

When fog envelops the land, there falls a quiet like no other.  Light is dimmed, bird song is muted, cars roll by seemingly floating on air. Words evaporate, the world stands still, and all around the pervasive quiet penetrates and nurtures the soul.

The distinctive Brugmansia, Angle Trumpet flower, was chosen as a metaphor for dance, in particular that of Martha Graham, 20th century pioneer of modern dance.

When arranged, the fullness of the Brugmansia blossoms  echoed Martha’s use of full and tubular skirts, as well as the unusual movements and intimate, sensual energy of her choreography.

Most of her early works were set against spare backgrounds, using simple, abstract props and were photographed in B&W, thus the choice for this series. The intentional space or void between the groupings allow for personal interpretation.