Born in the year nineteen hundred and forty-one, a pivotal moment in his life unfolded in the mid-1960s, marking the commencement of his foray into the realm of eight-millimeter filmmaking. This life-altering experience was precipitated by a program of Stan Brakhage's films that he had the opportunity to witness on a drizzly night in New York City. The works left an indelible mark on him, primarily due to their innovative abstraction, meticulous attention to color, texture, and rhythm, which resonated more with his understanding of 20th-century painting than traditional filmmaking practices. Consequently, he felt an insatiable desire to explore more of the same, leading him to seek out and eventually become a part of the esteemed Millennium Film Workshop.
Throughout his tenure at the workshop, he indulged in a temporary loan of a light meter from none other than the illustrious filmmaker Ken Jacobs, whose cinematic sensibilities and artistic inclinations mirrored his own fascination with the pioneering era of cinema. As he embarked on a leisurely stroll through the vibrant streets of New York City, he meticulously devoted himself to reading the light, carefully scrutinizing its every nuance, and in the process, unearthed the distinctive essence of light, thereby gaining a profound understanding of cinema's profound reliance on this fundamental, yet often overlooked, element.
