Introduction

I am interested in working with intricate photographic marks, lines and shapes to make complex expressive compositions which are active 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.  What engages me in particular is 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 – fences, trees, corners of rooms, fireworks and so on – might be regarded as uninteresting.  But it is in the forms, lines and volumes they present that I find intriguing and expressive possibilities.

The move away from the subject and towards form and mark is, of course, abstraction.  It has been suggested many times that abstracted forms and lines can have an expressive character similar to that created by instrumental music.  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 representational aspect.

Working with the representational medium of photography roots all these pictures in the observable world; their success 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 Fine Art 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).