I accumulate findings from varied areas of existence, an existence that is birthed from the lens, under the idea of ‘Light Research’- immaterial and situational based research that is undertaken within each unique photograph. I collect influences from archives, literature, contemporariness, myth and science. A factual approach whilst also questioning our reality. My photographs are a document of gestural proof. Within the core of this is what I describe as ‘an umbilical cord of existential consciousness bounded to the ground via our shadow’.
Dark Room Process
Nestled between the thin plastic negatives are overlapped papers that fold in strange atmospheres, tarot coins suggesting alternate realities, spilt chemicals of unwashed warm palms and a gesture of lent light. Reengaging with the physicality of photography, the process and material quality. Each print evokes a sense closer to technical information and conceptual metaphors.
A darkroom is a passage into alternate realms. Placing myself within these darkrooms for over 6 years they have dealt my photographs a conceptual card. It is here that camera-less photography such as Chemigrams, Luminograms and Photograms have riddled my photographs with repetitive patterns. All in an attempt to understand my tangible surroundings, using the un-tangible enlarger light.
By shooting 35mm, Large Format and Polaroid the camera I choose to use lends me the lens’s knowledge to fix my sights on immaterial and situational snap shots of reality. The camera does not question what is captured, so it is not bias to what it sees. I therefore question what I have imprinted onto my small plastic hand held sheets of ‘proof’.
‘Your on-going experimental research into contact modalities, working with light, etheric medium and observation seem to have yielded some new data/knowledge and real insight into the nature of reality, energy and consciousness.’ – B Camplin, Senior Lecturer in Fine Art at Goldsmiths University
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