Projects
Wild 2009
In the past, I travelled by air to various remote National parks to photograph wildlife digitally with a 35mm SLR. The intention was “capturing” “good” images of wildlife to develop and demonstrate my technical skills and fieldcraft and “document” rare or “interesting” species. This no longer feels tenable, rather exploitative and judgmental. Whilst there is positive impact in boosting the local economies and supporting National parks, the negative impact was a large carbon-footprint (including a huge digital archive) and participation in perpetuating the capitalist market of demand for nature tours.
I have still included the work - as a reminder of why I have developed my practice. I selected images in this series that show wildlife looking back at us. What might wild creatures see and what ought we think about our own behaviour and viewpoint?
Endure 2013
A group project to photograph a derelict Victorian “insane asylum”, which had still been used as a mental health inpatient facility until 2006. This was supported by “London Citizens” who were working with the developers to create social housing. The intent was to document the building “before” and “after” renovation to create a social document. After renovation, the developer did not allow a return visit and so the project remains one-sided. The output was a group exhibition and later a solo exhibition of prints on foamex.
The experience was very moving, even overwhelming, evoking a response mostly with abstracts but also images of abandoned rooms and objects to reflect the sense of lives that had been there. The project leader did involve previous patient views and experiences later separately and sensitively, also making portraits with consent.
Heaven in a wildflower 2014
I starting taking photographs as a volunteer of two nature reserves for a small local flora conservation charity for their website and marketing. Phenology became of interest as each year photographing passed and climate change became more evident. I discovered the work of the International League of Conservation Photographers and the “meet your neighbours” project. The clarity of the results appealed to me as a way to highlight and “elevate” local “common” species. The output is still part of the Suffolk Flora website and was also a local exhibition of prints on foamex. The technique requires a Perspex sheet and two flashguns.
On reflection, this was my first step towards a more ethical and eco-conscious practice. It could have consumed less materials and energy but overall it had a purpose outside of my interest or gain, there was no exploitation of people and as the technique is non-destructive and field-based and I was mainly photographing flowers there was minimal impact on wildlife.
Reality|Unreality 2020
This project was made in the UK during the 2020-2021 pandemic lockdowns. The intent was a photographic exploration of my response to the pandemic. It was entered digitally into a “storytelling” competition. Images were made during walks I was taking during permitted outdoor exercise in the landscape.
Fracture 2021
Fracture is a long-term collective project undertaken in villages in Sicily affected by the 1968 earthquake. The overall project aims to raise awareness of this neglected disaster and the ongoing community impact of a mismanaged reconstruction. I used bold colour-blocking abstracts aiming to show something “gorgeous” and some regeneration, deliberately avoiding “dereliction”, but not absurdity.
Auguries 2022
This project started abroad but ends within my continuing project exploring climate change locally. It presents natural phenomena - nothing is staged, artificial or constructed - but asks questions about what these natural phenomena might have to communicate to us.