Introduction

I am interested in experimenting with intricate photographic forms, lines and shapes that make complex expressive compositions working across the whole of the frame.

My concern is with compositions that are non-literal, in that I am attending to the construction of the image, not the subject. So for example the interplay between foreground and background, how shapes and forms relate, as well as the marks that describe them. As such the literal subject matter I use is usually uninteresting; fences, trees, shadows and suchlike. It is in the forms, lines and volumes they present that I find expressive possibilities.

Moving away from the subject and towards form and mark is, of course, abstraction. It has been suggested many times that abstracted form can have an expressive character much in the way instrumental music does. So too, an image has a formal part that can be as expressive as its literal subject matter. Unlike music however, photography always retains some representation aspect. In my picture making, I am interested in exploring the relationship between the abstracted form as a subject in its own right and this represented subject.

Working with the representational medium of photography roots all these pictures in the observable world; the success of any of them lies in the balance between this basis and the idea of the non-literal (or abstract) image. Simple transformations such as rotation can tip an image away from the representational and emphasise its structure (with a little willingness on the part of the viewer).

In the tension between representation and form there is much I hope to explore.

A little background

I studied Fine Art at Bristol Polytechnic (1984-88) followed by a Postgraduate in Print Making at the Slade School of Art (1989-91)

After leaving college I worked as a press photographer


I am also co-founder of the agency Troika Photos (2000) and Troika Editions (2009), both with Bridget Coaker