My work stems from a fascination with industrial landscape and in particular where it interacts with nature. Having spent a childhood playing on common land and around derelict buildings, this seems to have continued into adult life, and through this personal work I have learned to look closer, finding unique scenes which have a limited lifespan.
With my abstract works, I use a digital process as a research tool, then large format film to make the final frames, which is currently a wooden Wista 5x4 field camera with a couple of old lenses. In terms of the projects which lean towards documentary, I use a digital process, always using a single technical approach throughout each project.
I am heavily influenced by abstract expressionist painting of the 1940s and 50s, and in particular the more controlled, grid-like works. In working towards making angular pictures myself, I have used architectural photographic techniques to get to an accurate end result, and, following much trial and error I began focussing on surface and textural elements which also play with scale. Researching everyday environments, often in some pretty unexpected corners, I carefully compose them as photographs removing them from their original context, that resemble abstract painting. These ‘found works’ examine the accidental products of our environment. Details removed from normal perspective, the subject is often unclear. From miniature to massive, they display beauty in simplicity, repetition and decay.
The common theme of transience comes in different forms in my work, from how environments around us undergo irreversible change over time, or how the lives of people leave their mark. Transience touches all of our lives and is often, in it’s detail, very beautiful if we examine it closely on on a grand scale. My work celebrates this in it’s great structures, and in it’s most insignificant marks.
With each project I work on I take a different approach, so as a whole I do not limit myself to a single subject or style. Some projects lend themselves to a purely abstract approach, while others blend architectural, abstract and a documentary element.
For all of my working life, I have made my living in the world of photojournalism and documentary stills, and have been influenced by both photographers I have worked with directly or admired from afar. It seemed inevitable then, that this would seep into my personal work to varying degrees, and with the representation of people or actual people present in the pictures, a layer of interaction is added to the story of transience.