For past few years I’ve focused my artistic to attention to the extraction industry of forest clear cutting in the Pacific Northwest of the United States. Upon seeing the first clear cut while hiking, I felt an urgent need to use my creative/art practice to respond to what I fell is an assault on the environment. I began using a classic photographic approach to create images of clear cuts and slag piles, with the desire to share what I witness.
Some of the multi-image pieces have words/poetry hand-cut from the prints. These words and the technique confront the anthropocentric practice of forest clear cutting by the hand-cutting of the words to create a negative space in the images.

All the photographs, taken with a 120 medium-format film camera, are Platinum/Palladium prints that are contact printed with a negative produced through a hybrid process printed digitally. some larger scale prints are archival pigment prints.

Recent works have been shown at Chung24 Gallery San Francisco, Center for Photographic Art in Carmel, The DeYoung Museum in San Francisco and Patricia Sweetow Gallery/SpunSmoke and San Francisco Center for The Book,and Yerba Buena Center for the Arts, A recent Acquisitions of Resource Extraction and Whats Left Behind, featured at Codex 2024, were made by Bancroft Library at University of California, Berkeley

After graduate school at the San Francisco Art Institute his vision of Art focusing on works that incorporated photographic elements using alternative photographic processes.
by
Kerri Hurtado
Curator, Art Source Inc.
in 1985-86 he was a darkroom assistant at the Ansel Adams works shops in Yosemite for Charles Crammer who taught Cibachrome printing and Dye Transfer printing.