• Hardly Even A Tree

    2017 Made for London Design Festival in response to the opening of the new Elephant Park in Elephant and Castle.

    Tree (noun): A woody perennial plant, typically having a single stem or trunk growing to a considerable height and bearing lateral branches at some distance from the ground. The trees in Elephant Park have a rich history. They are the remaining bodies, forms, structures and walls that were once part of the territory that made up the Haygate estate. They share the stories and lives of the previous 3,000 residents and will bare witness to the arrival of the incoming residents. The Haygate estate was comprised of 1212 homes and 406 trees, and stood on the land that is now Elephant Park. 128 of these trees remain on the sight, lingering on in this rapidly transforming landscape. Those trees with a narrow trunk or an imperfect canopy did not make the cut. Naturally, trees with the highest value were preserved and protected. With a calculated total value of the original 406 trees coming to £21,346,469, the future of each tree relies upon its ability to prove its worth. The well-established trees, that show no signs of imperfections, fetch the same value as the sum offered to some leaseholders for their flats on the Haygate estate. The system being used is known as CAVAT – Capital Asset Value for Amenity Trees. This system finds it necessary to objectify trees in order to protect them. It views trees as public assets, placing a value on then in monetary terms. Subjecting them to capitalism, we see a monetary value to be the only ‘true’ sense of value. Through it’s own objectification, the tree gains power and protection. Tirelessly, we question, assess and measure the natural world, trying to file it into boxes and categories. Through our continual deliberation and classification, we forget that these trees are essential to the existence of humanity. They produce the oxygen we breathe, clean the soil we contaminate and the air we pollute.
  • 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.