about

Cory’s artistic and photographic practice began at an early age, exploring photography through hands-on experimentation in a magnet arts program. Furthering his education at NYU’s Tisch School of the Arts, Cory was profoundly influenced by a few notable mentors. These professors introduced Cory to groundbreaking conceptual artists who expanded the boundaries of traditional photography, and augmented his understanding of art in general. Since then, Cory’s work has remained conceptually driven, playfully provoking the boundaries of perception—time, light, and chance. The practice remains rooted in curiosity about the threshold of perception - the limit at which a recognizable form is no longer recognizable - each piece pushing beyond what is visually apparent, while remaining anchored in the conceptual foundations cultivated early on.”

As a fine art photographer, my practice centers on the examination of transitional phases—between motion and stillness, presence and absence. The work is built around outcomes that are not fully known in advance. Chance is an embedded component of the process. I establish defined technical and situational parameters, then allow unpredictability to shape the final configuration of light, form, and gesture. The image is arrived at through this interaction.

This reliance on the unknown reflects an agnostic position toward authorship and meaning. The initial idea exists as a fixed impulse, yet it remains intentionally incomplete. I treat ideas as partial transmissions that are tested under conditions designed to admit contingency. The resulting photographs register intention alongside uncertainty, and each frame records a specific event that cannot be replicated.

Across the series—Umbra, Break, Drench, Luminal, Marine Drive-by, and Pass—the methodology is consistent while the variables shift. Slow shutter speeds, strobe, environmental movement, and the flow of pedestrians function as active elements within the image. Waves, water, hand-drawn light, and passing figures introduce singular interactions with the human form. Each photograph is therefore the trace of a structured situation unfolding in real time.

Control operates at the level of procedure. Exposure, lighting ratios, vantage point, and spatial constraints are predetermined, and these frameworks permit indeterminate forces to operate within them. Mastery, in this context, is the capacity to construct conditions in which unpredictability can produce precise visual outcomes. The photographs emerge through this calibrated structure.

The images are restrained and largely non-narrative, directing attention toward the behavior of light, time, and the body under variable conditions. Figures appear partially fixed and partially dissolving, registering duration within a single exposure. This liminal visual state is central to the work. The final image remains contingent and singular, shaped by a structured idea and the specific circumstances of its execution.