• Umbra: Darkness Within Darkness

    2018. I print in the darkness with light and paper. Navigating the shadows, I find that some papers turn away the light, while others take it in and envelop it. ‘Shadows emerge between the realms of darkness and radiance’ (Mccauley 2009 p.52). I have come to observe and perceive the subtleties of these shadows and the spaces they create in darkness. In shadows I find intimacy, a comfort and an assurance. There is a sense of security to be found it the dark tones of shadows, yet also a presence of the unknown, and with that, a fear. A heightened awareness occurs during the passage from evening to night, from dusk into the darkness, ones mental alertness is sharpened. In the evening light, shadows provide a depth to the landscape, allowing us to distinguish and classify forms and shapes within our perceptual fields. Shadows are ‘loyal companions of material objects’  (Mccauley, 2009 p.54) they act as a blockage and obstruction to the light, creating a positive image below. In the English language, to ‘cast’ a shadow can mean to spoil something; ruin it with something unpleasant. But I find shadows to be far from unpleasant, ‘we forget that the darkness they (shadows) cast evidences the light — palpable proof without which we might not appreciate or even notice the radiance itself.’ (Popova, 2015)
  • What Remains: The Root and The Radical

    2018. Recently, more and more, plants are being described as ‘intelligent bodies’ and ‘social organisms’. In the late 1800s, Charles Darwin was the first to suggest that the tip of the roots in plants is akin to the brain of some animals. Since then, the possibility of mental capacities and cognitive abilities of plants has become an exciting field of research. In his book, The Hidden Life of Trees, Peter Wohlleben states that the roots of a tree ‘is where the tree equivalent of a brain is located’. The root network is in control of all chemical activity in the plant, they absorb and release essential substances.
  • Circles: A Record of Our Time

    2017.     The environment records human movement, human action. When we depart, what legacy will we leave? Thousands of years into the future, what evidence will remain from the Anthropocene? Rocks layered with indecomposable plastics. The chemicals we exert, the toxins we dump, absorbed into roots and locked up in tree rings. Scars on rocks showing deforestation and the elimination and disruption to species. CO2 absorbed into freezing waters leaving ice cores murky and grey.   As Pope Francis put it in his much-celebrated encyclical last year, our present ecological crisis is the sign of a cultural pathology. “We have come to see ourselves as the lords and masters of the Earth, entitled to plunder her at will. The sickness evident in the soil, in the water, in the air and in all forms of life are symptoms that reflect the violence present in our hearts. We have forgotten that we ourselves are dust of the Earth; that we breathe her air and receive life from her waters.”   In Circles: A Record of Our Time, I have focused on the visual recording of the Anthropocene in tree rings. The tree acts as a recording device, a camera. As trees grow they form growth rings, each growth ring different dependent on environmental fluctuations. During a conversation with Martin Bridge, lecturer of dendrochronology at UCL, he explained that since CO2 levels have been rising in the atmosphere, tree rings have been getting wider. This is due to the fact that the tree absorbs more CO2, causing it to grow faster, resulting in the rings becoming further spaced apart.   Turning the tree into a medium for making art and working directly with wood, I have produced an ecology of images that examine how mans relationship with nature can be read from trees. Acting as a pseudo-scientist, I have been investigating the wood as a photographic material and as a tool with which to consider the future of our environment. By incorporating and adapting scientific methods and devices I have evolved new forms of image making. Starting with the technique of chromatography, used to separate components of a mixture, typically in inks and dyes, I incorporated soil collected round tree roots. A form of chromatography with soil has been used in Mexico as a way for farmers to test the quality of their soil. Using filter paper and silver nitrate, I am able to create a photographic record of the components held in the soil, which would have been absorbed by the tree and influenced the growth of the next tree ring. Most of the minerals held within the soil are invisible without the use of silver nitrate. By drawing the solution through a central hole in the filter paper, the minerals from concentric circles according to the speeds they travel at. This organic banding of the soil components imitates the aesthetic of the tree rings, bringing the work in a full circle.
  • Algology: The Art of Scientific Curiosity

    2016.          I have inhabited this mind-set of the curious child, the mad scientist. Hungry for knowledge and a desire for innovation and strangeness. I don’t know what I have been searching for particularly, but I have been fascinated by my discoveries. With these findings, I have produced a scientific publication. The book is designed to mimic the style of a scientific study. But, unlike most scientific publications, the work does not provide us with a conclusion. It is not designed to satisfy ones curiosity, but to encourage it. It is a porthole into the scientific, curious, investigative mind-set. The title, Algology, has two meanings. The study of algae and also, the study of pain. It remains ambiguous through out the book as to what I am actually investigating. I have incorporated both definitions for algae and pain. To the same effect, I have also removed the word algae from all of the text, simply referring to 'it'. This leaves room for the reader to interpret their own understanding of the work and potentially leave them more curious than before.
  • Obsolete & Discontinued

    In March 2015, London based photographer and printer, Mike Crawford came into contact with a large quantity of old photographic paper and film, most at least 20 or 30 years old.   The decision was made to distribute the papers amongst different photographers and artists to see the individual results that could be produced according to the diverse techniques used by each artist. Over 50 participants are now involved in the project, many of them members of the London Alternative Photography Collective.   I was supplied with 8 sheets of Agfa Brovira paper, with which I produced this series of Luminograms. Two images from this series are included in the final selection for Obsolete and Discontinued, which was premiered at the Revela-T analogue photography festival in Barcelona, from 20th May to 5th June 2016. Then shown at Schaelpic Photokunstbar, Koln, Germany, 7th November - 3rd Feb 2017.
  • The Mushroom Book

    2015.            The mushroom book is an investigation into the medium of light and it's role in the production of photographic imagery. I am interested in the use of natural and organic materials to produce my work and decided to use mushrooms and fungi to explore camera-less photography as a way of capturing light, and documenting these organic forms. The book contains a range of camera less photography techniques, including photograms, chemigrams, lumen prints and Xerography, every image is produced with the use of mushrooms. Due to the nature of camera less photography every image in the book, with the exception of the xerography work, is a one off, and would be impossible to replicate. Therefore making the book a complete one of a kind. I made the cover of the book solely from turkey tail mushrooms, foraged from various woods around London. The book was bound using single sheet coptic bind stitch, this allowed for the incorporation of different sized work and enables the viewer to open the pages flat to view the full image.
  • Consumption

    2015.      Fit For Consumption is a series of Lumenograms produced for an exhibtion held at Save The Date Cafe in June 2015. The exhibition was put on to help raise awareness to the issues surronding food waste in present day society. To produce the imagery, I collected fruit and veg from the bins of a local market and used this to directly print from in the colour darkroom.