University: Middlesex University
Genre: Fine Art
Artist Statement: As a child I stared in wonder at the sky, at the stars and the clouds, feeling I could never see enough at one time. I now turn my camera upwards to try and capture this sense of awe, which never left me as I grew up.
The notion of being dwarfed by the sky brings both fear and joy, and gives me the impression of being encapsulated in an unfathomable blanket.
Through analogue recording and printing processes I set out to record something other than the visible; something absorbed into the medium from being present at the time.’
All hand c-type and silver gelatin prints
What are some standout moments from your time at university? Some stand out moments are a selection of times meeting amazing photographers like John Blakemore and Jem Southam, and listening to the wealth of knowledge they hold. But also the first ever colour hand print that I got right is a standout.
Which photographic genre do you consider your work to fall into? I consider my genre to be around fine art - whilst some previous works for into landscape or documentary, the undertone of my work now and other recent works is fine art based.
What themes do you find yourself exploring? I usually find myself exploring themes that I can relate to my own life experiences such as; anxiety and frustration, the experience of feeling, and feelings of loss, but also more broadly notions of memory and the veracity of the photographic medium.
What did you enjoy most about making this series? The thing that I enjoyed most in making this series was the experimentation and then utilising the results in a way that I felt best expressed the underlying theme of the project. Being surprised by results from time to time, whether I had made a 'mistake' or intentional alteration, was a refreshing part of the work too.
What encouraged you to use film and hand print your final images? I have shot the series on film and printed by hand because I was trying to dissect the analogue medium and see if I could reveal the emotions felt during the experience of seeing. Also to see whether the transition from film to print, by hand, drew something further out or made an imprint on the image as evidence of the dissection process.
Who or what visually influenced Ground Control? Things that influenced Ground Control are primarily the subject matter itself, the open clear sky. In a two-dimensional sense, the minimalistic sublime of Kazimir Malevich's black square, Rothko's large maroon paintings and the technical processes of Daisuke Yokota all influenced the work.
What does the future look like for your photographic career? I have recently undertaken a residency at the University of Wolverhampton that will help me produce new work. I am also embarking on a cross European project in the near future too, which will be an amazing opportunity to produce and show new work, so I'm excited about both of these things!
I have recently had my first commission for FT weekend published recently so that's exciting and will hopefully lead to future commissions.
The future, I feel has potential. The recent interest in my work confirms to me that the things in my mind are interesting to other people. So with this in mind the future looks like group exhibitions, solo exhibitions and print sales.
Tell us about the overall visual style of your work. Why are some images full bleed, and some presented with a large border? The overall style of the work is a mixture of abstracted imagery combined with abstracted processes to create an overall cohesive mix of images. The works are presented full bleed and with white borders to play with the notion of the two dimensional representation of something, whether that be a print, portfolio or a book. So certain images which are full bleed should represent the feeling that the image is boundless and can be experienced beyond the page. Then images with a white border are as if they are windows into the image, but with an obvious boundary or separation from the external world. The anaglyphic images play with the notion of the window most directly.
How did you hang this work at Free Range? What are your thoughts? The work at Free Range was a selection of 2 images from the series, due to space requirements etc. I chose one of the large pink sky prints and one of the blue clear sky prints because they compliment each other well, but also because they summarise the series in the shortest possible way - one image being multiple processes with marks, scratches and untrue colours, and the other being the cleanest smooth gradient of tone. Both images were printed 60x40 inches so that the height over the viewer had a certain amount of intensity and encapsulating scale. I feel that I would have liked more images so that the project could be explored in more depth by a viewer, but for the two images I presented I am happy.