I have tried to select images that translate into 2D, as my work relies on the subtlety of direct encounter and a process of spatial discovery, I hope these images provide you with SOME indication of my photo-sculptural practice and the means of place-making I experience through my works. I see landscape and photography as active and ongoing elements.
All works consist of the following material palette:
Archival pigment ink on cotton rag
Victorian Ash timber [stained and unstained]
Acrylic [clear and tinted]
Vinyl [on windows and doors]
Some works that do not appear to have photographs are acrylic abstractions that accompany my images.
I see these works as landscape works and photographic in nature, though they do not contain photographs, as such.
The photographic image is but one pliable component of my spatial practice: an object whose material condition holds much conceptual potential. The relationship between the photograph, the sculptural act and the exhibiting context is an active process. I aim to implicate these elements into the language of landscape and explore the conceptual and phenomenological scope of this relationship.