My work is heavily underpinned by the connotations of land art and ownership of materials in relation to spaces they are situated.
I explore the reasoning for the positions certain materials in their unnatural location and highlight their differences within the landscape using sculpture, text and video works. My work bears homage to stone the bronze age stone monuments spread across the country, yet I intend to not only recreate a monument of my own, but to also pass on this information and experience to others, inviting them to take part in the moving of the stones and following in the footsteps of others across the landscape to visit other monuments.
I have a natural lure to natural spaces and intend my work to create this same desire within the viewer. Through an amalgamation and stimulation of the senses, the viewer is placed be between a combination of visual auditory and sent stimulation which is in aim to recreate an experience similar to some of my own.
Looking for Lennon documents The Bootleg Beatles hyper-reality and simulation of The Beatles. Established in 1980 following the final show of the West End musical Beatlemania, The Bootleg Beatles have gained success in their own right, supporting house-hold names including David Bowie, Manic Street Preachers, and most famously Oasis.
The band have performed over 4,000 shows and had a total of 11 band members since their conception. Photographic work includes portraits, behind the scenes preparation and live shots. Written study also documents the bands’ pursuit of finding a new John Lennon. In a Dr Who style regeneration where the character changes but the icon remains and will be the twelfth band member, and the third to represent and recreate John Lennon.
Work displayed include portraits of each band member in Sgt Pepper’s uniform, along with a panoramic image of a sell out show in The Royal Albert Hall in 2018.
This uncomplicated arrangement of abstract geometric shapes and textures illustrates feelings of isolation and futility using simultaneous calm and tension.
Vernacular and everyday objects offered fresh sources of inspiration; creating simple shapes and forms in a way that the viewer might detect abstract qualities of the familiar. The outcome is in harmony with the simplicity of how I work, design and composition being as important as the subject.
The connection between film and emotion is indicative of an imbalance of unconscious over conscious thought, metaphorically detaching significance and understanding to a random and chaotic world. Silence and a sense of removal emanate from the enactment of the uncomfortable closeness of destruction and creation.
Endings are a significant part of life; in this final piece I am trying to understand the reality of the moment, why I need a place in life and how to fit in when I feel that it’s pointless.
I create stories using Portrait and Still Life photography to explore the identities and lifestyles of people in the modern world. Constructing an identity within a single photograph leads us to judge that person, stereotype them and not fully understand that persons true identity. Using my commercial background mixed with artistic influences I have created a unique way of displaying my work as to offer a window into the subject’s life and lifestyle.
I intend to open the viewers eyes, to let them explore and discover the hidden world around them and to breakdown the judgement and stereotyping that we all make every day about each other.
My work will be displayed as a main portrait surrounded by still lives, for me a story within photography is important by using more photographs I’m allowing the viewer to be absorbed into a life of another.
My practice has seen me document the chaotic life of migrants in the ‘Jungle’ in Calais, the demolition and destruction of the camp and the subsequent attempted dispersal of the migrants from the area.
However, people continue to arrive and attempt to board lorries, buses, trains - even trying to swim to the ferries - in order to get to the United Kingdom to claim asylum. These dangerous activities often results in them being discovered or, sadly, often end in terrible injury or death.
Muslim areas have been allocated in the Calais cemeteries where refugees may be buried in paupers’ graves.
“Every soul will taste death, and you will only be given your [full] compensation on the Day of Resurrection.
So he who is drawn away from the Fire and admitted to Paradise has attained [his desire].
And what is the life of this world except the enjoyment of delusion.”
This passage from the Quran is spoken at funerals. Could it be argued that ‘the enjoyment of delusion’ seems so apt as the refugees continue to risk all in an attempt to get to the United Kingdom to make a new life?
I create installations working with images, text and performance to explore the space between fact and fiction, truth and trickery. I am interested in how our understanding and appreciation of work is affected by the ways in which it is framed, literally and metaphorically. I seek to challenge and subvert the authority of exhibition spaces. In the process I invite the viewer into a playful collaboration.
I intend to blur the lines between discovery and projection by using both found and crafted materials. I evoke and invent stories and (auto) biographies. I am drawn to work with found photographs as they are imbued with a natural authority and all have their own narrative, which will never be known. I want to present them instead as depictions of diachronic realities, polysemic objects with evolving significance.
A landscape is a physical living space, now more than ever consumed through a viewing screen and rarely experienced. The representation of these landscapes informs my photographic practice but the questions around its representation form my primary area of research. A Landscape in a technosphere has become another form of consumer consumption just like having a day out at a theme park.
The landscape as in image, is a two-dimensional object, whereas the ‘real’ landscape is both visceral and immersive. By immersing my practice in the landscape I experience it, not just visually but also through other senses such as smell, touch and sound.
Projects such as ‘Derwentwise’ try to address the landscape both in terms of preservation, re-naturalisation and public engagement. A small part of this larger project is the management of Lea Wood with the aim to return it to a more natural Oak and Silver birch woodland. Once part of a larger country estate the woodland is slowly returning to a more 'natural' state with the removal of non-native plant species such as Rhododendron.