University: Coventry University
Artist Statement: The Margin represents my growing fascination with England’s coastline, fuelled by spending my formative years in the most central region of Great Britain. The Margin is a suite of photographs aiming to explore my intrigue with the space between land and sea, a transitional environment on a constant cycle, refreshed methodically. My practice addresses a space amidst a one-mile border of Hengistbury Head, a headland jutting into the English Channel. Although this space is seemingly banal, I am interested in offering a perspective of the coast and the distinctive sense of separation that exists in a shoreline.
What are some standout moments from your time at university? Participating in a student organised Symposium hosted by Coventry University BA (Hons) Photography students. Field trips to Moscow, Russia and New York, USA.
Which photographic genre do you consider your work to fall into? Fine Art, Landscape, Documentary.
What themes do you find yourself exploring? Themes relating to coastal landscapes.
What are the biggest influences on your photography?
Artists; Jem Southam, Fergus Heron, Simon Roberts, Michael Collins, Marc Wilson, Bernd and Hilla Becher, and Hiroshi Sugimoto.
Also my relationship to the landscape and coastal environments.
What's encouraged you to complete an MA in Brighton? I want to use photography in a broader sense, develop my academic writing and photographic practice.
The Brighton course is taught by renowned practitioners and the course profile strongly reflects my theoretical and practical application of the medium.
What are you hoping to achieve during this year? To develop theoretical and conceptual research towards photographic production approaching the masters start date September 2016.
Why did you choose to make The Margin in the place that you did? It stemmed from personal experiences and attachment to the specific location, the unique ecosystem and the environment.
What do you enjoy most about writing? I benefit by cataloguing research, and I find that academic findings support and strengthen my visual practice. Through writing I have the ability to communicate clearly and file conceptual and theoretical findings in accessible documents that can be shared and sourced with ease.
Do you rely on any major theoretical sources when making new work? Specifically writings, journals, books authored by photographic theorists. Secondary research guides me to building a narrative, reinforcing my practice that creates a relevant critical basis for production.
Have you got ideas for work you’ll make during your year at Brighton? I am still exploring several avenues, dealing with similar themes I have explored previously; my priority is reexamining photographic theory and writings before the start date of the course September 2016.
Do you have any goals for after you finish your MA? My aim is to become deeply involved in a higher education institution and develop my teaching practice.
If you could make new work anywhere in the world, where would you visit? I’d relish the opportunity to walk the entirety of the UK coastline.
What are your go to pieces of camera equipment? I like to travel light; I’m not very technical at all so simply use a Mamiya 7ii and Manfrotto tripod.