What’s your background?
Growing up I was good at two things; art and computers. I pursued the later in college and earned a BBA in BCIS. I then worked for 15 years as a systems analyst and programmer specializing in database design and business logic. I have since semi-retired from the IT world in order to run my studio full-time.
Explain what you do.
We use cameras to convert photons into variety of things. Sometimes this is art and sometimes it’s a LinkedIn profile picture. I also convert Ones and Zeros into tiny dots of ink that when viewed from an adequate distance form, in some cases art, and in other cases promotional posters.
We also endeavor to share our passion and knowledge of photography through a number of social and educational outlets. We are particularly focused on the notion of a well-made photographic print and promote that as a worthwhile craft extensively. Finally, we also do what we can to preserve analog photography through education and preservation of vintage equipment.
What themes you are concerned with?
My wife and I believe that significance is imposed. As people, our memories and personal histories are substantially affected by photographs. The quality of these photos combined with the craftsmanship and the intent of the photographer (be that intentional or otherwise) help shape how we remember those moments. We also believe that there is beauty everywhere around us. Even in places that escape the imagination or suffer from preconceived notions of blandness or even outright dismissiveness. We constantly strive to exhibit both of these core beliefs in our work.
I’m a big fan of Andy Warhol. Not because I love soup but because I admire his realization that marketing is a key piece of art and it can be embraced without compromising “artistic integrity.” I also love that he understood “social media” long before it was a thing. I wish he could have lived to see just how famous we ALL would be. I can only imagine what his Instagram account would have been like. I’m also a big fan of Stephen Shore and other “New Traditionalist” photographers. I must also mention the influence that Sally Mann has on Erin and as a result our larger body of work.
How does the Dallas Makerspace effect you?
I have been a member of DMS since almost the beginning. Not quite the very beginning, but I joined during that first year. I’ve maintained my membership since then for primarily one reason – the AMAZING access to personal knowledge. The facilities are amazing and the access to equipment is well worth the membership dues. However, the networking and knowledge sharing that goes on there is priceless.
I try to contribute to the community by sharing my passion and knowledge of digital printing. I was instrumental in bringing the wide-format printers to DMS and do what I can to promote their use. I service, maintain and stock the printers at as low a cost as possible in order to make them available to members with usage fees far below commercial rates. My hope is that by doing so I can help keep printmaking as an art form and craft alive in an increasingly digital world.
Tell us about your relationship with the Dallas Makerspace.
Over the last few years I’ve tried to spur a more organized approach to classes and workshops. My efforts in this are spread across my involvement in three different non-profit organizations; Dallas Makerspace, Dallas Camera Club and The Creative Arts Center of Dallas. Unfortunately, my time and energy is spread pretty thin over these and other organizations and I don’t feel like I have the ability to see my vision fully fulfilled. I do what I can, but if I had help and some administrative support, I think there are some very cool things that could evolve out of our current organization.
Please note that Erin and Steven’s works are currently up on the Dallas Makerspace walls.
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