top of page
Alleys & Ruins no. 1, Electric Sky (1991, Montreal, QC, 10pm)

Alleys & Ruins no. 1, Electric Sky (1991, Montreal, QC, 10pm)

Alleys & Ruins no. 1 was shot in September of 1991 - the first image in the series was shot before I knew I was developing a cohesive body of urban decay shot at night.

By 1991 I was shooting a lot at night and I already knew that out-of-the-way urban areas (the more decrepit the better) were drawing me like a magnet. Electric Sky is not the first run-down urban decay I shot at night, but I think it’s the first where I somehow managed to elevate a downtrodden, even banal urban scene into something almost magical and spiritual and uplifting - the complete opposite of what seemed the reality of the actual scene.

I didn’t know why I was doing this at the time, and I certainly didn’t have a series planned. It wasn’t until the summer of 1993 that I had the required epiphany. Once I came to recognize the vision that I had been dancing around for so many years, the series took off. That summer was the true beginning of the series.

I was drawn to areas where people don’t go, inside a busy, loud city – they were small, grungy oases, where it was quiet and where I felt comfortable. And there I would be, surrounded by incredibly stimulating newness – stuff you wouldn’t see anywhere else but in places society shunned. Since they were barely, if at all maintained, the scars left by the elements (including the weather and people) only accumulated, making them more and more interesting the older they were.

I needed a lot of time to myself, and I needed to take pictures. The perfect solution was to walk down dark alleys alone with my camera at night.

Okay, there were some obvious flaws with this solution! So after a year of this, and after a half dozen scares, I started asking friends to come along and watch my back. I’m grateful to the many, many people who have been foolish enough to assist me over the years (haha!) – no, I truly am grateful!!

The series has evolved over time. In the late 1990’s I realized the need to always bring lighting equipment and colored gels with me (I had used lights only rarely before that). I would still use my lights sparingly, but year after year my images had more and more of my lighting. In 1997 I switched to a 120mm Hasselblad camera – a big upgrade from the 35mm Nikon I had been using, resulting in incredibly sharp and detailed images. In 2004 I found myself in a position where I could sustain myself through my art alone. I stopped doing the commercial photography (mostly architectural and Interiors) that had been my bread and butter, and this allowed me to travel extensively, adding dozens of new cities to this body of work.

But the heart of the series has always been my drive to dignify the places, and by extension, the people who are cast away. By transforming these locations into theatrical sets (made way easier when I started bringing lights!), I have always tried to create a stage without players, leaving it up to the viewer to create their own characters and drama, and hoping that ultimately the viewer feels compelled to step into the scene themselves, as I did over 30 years ago.



    Our unique and vibrant photographs will add depth and stunning color to any home, office or public space. They are offered in two main finishes


    1. Metal float mount
    Our Metal prints have a magical luminescence. Their vibrant, saturated colors jump off the wall, and will last for generations. They are created by infusing dyes directly into specially coated aluminum sheets making them incredibly durable and scratch resistant. The finished piece is float mounted, so they float one inch off the wall.


    2. Archival prints
    We print on premium quality Sunset eSatin paper, using archival Ultrachrome inks for incredible endurance and color saturation. These prints will last for generations.

    11x14 and 16x20 sizes are available with or without a window mat. If you are unsure which is best for you, feel free to contact us. Most clients seem to purchase without the window mat.


    Prints larger than 16X20 are available as full-frame prints, without a white border or a window mat. If you want a white border, just let us know!

    If you have a specific size requirement, that's no problem! Maybe the perfect size is somewhere between two of the sizes in the drop down list. In that case, the price would be the proportional difference. We’ve also stretched and cropped pieces for customers to fit precise spaces. Give us the dimensions and we'll email you image options for you to choose from. There is no charge for the extra labor in custom sizing pieces.


    Metal prints in the following sizes include a Certificate of Authenticity, which will be mailed to you:

    48X65 or 48X72: edition of 15

    43X57 or 40X60: edition of 25

    32X40 or 30X45: edition of 50

    24X30 or 22X33: edition of 100

    16X20 or 16X24: edition of 200

    We want you to be happy with your art purchase. If a piece arrives damaged or defective, please contact us and a replacement will be shipped. All of my finished pieces are created using the highest quality archival processes. They come with a lifetime guarantee against fading or color shift.

PriceFrom $49.00
bottom of page