1814: The first time I saw your photograph Pic Nic Poker on a large scale was at the Sagamore Hotel, Miami as part of the Crickett Taplin Collection. The photograph is a tetraptych and I remember being blown away by the detail and the intimacy of that work. Do you think it is important to experience your landscapes on a large scale?

MV: I think that seeing my work on a larger scale allows you to better interpret what is going on with the subjects in the photograph, you can see the emotions, anger, sorrow, joy and love. I remember when a large scale print was 54 inches, and now we have the ability to print quite large and this allows us to experience photographs in quite a different way.


1814: What is the magic hour when photographing at the beach?

MV: The energy begins to build as early as 9:00 AM, the clothes drop and people drop their worries as well, although some tension remains some barrier. A narrative begins to unfold. There is a lull from noon until about 1:30 then everything begins again and builds until 4:30 when the energy completely evaporates. Nothing happens after 4:30.

1814: How would you describe the project you are currently working on?

MV: My new photographs are a departure from the earlier images I shot at the beach… as my earlier images had some juxtaposition in the landscape, an industrial element or maybe a highrise. I would describe my newer work as reminiscent of a 17th century landscape, a more romantic topography… with figures.

Landscapes with Figures in 1814 Magazine, n. 1, 2011.