Woman In Red...

My work has recently moved onto photographing The Woman In Red. I am still interested in creating 'dreamscapes' through my use of focus. I want my work to continue to raise questions on memory but I wish to create an allegory by following a character within my work. This idea came from my work with the Time Traveler piece and i wish to expand on this.

The Woman In Red....A Cinematic Icon. 

 'Film has been called an instrument of the male gaze, producing representations of women, the good life, and sexual fantasy from a male point of view' (Schroeder 1998)

36 EXP Exhibition Manchester...

Some of my work on show

The Time Traveler...

I found So Here We Are to be a successful body of work that raised interesting ideas as to why I chose to become a photographer. Now i feel i have a strong focus and direction to my work, I hope to create thought provoking and reflective images that raise questions about out past and how we chose to remember out existence. 

So Here We Are...

As part of my work into our connection to images and our perception on memory i created a book called

(So Here We Are)

From my reading and understanding of psychology, I am intrigued by the concept that the formation of a strong identity is influenced by the agreement between past and present states of consciousness; and the role that subconscious memories have in forming the conscious. 

“memory [is] a finger-mark traced on shifting sand, ever exposed to obliteration when left unrenewed; and if renewed, then modified, and made, not the same, but a fresh and different mark.” Frances Power Cobbe - The Fallacies of Memory (1867)

“We cannot truly grasp the language of our dreams in the conscious process” Sigmund Freud, The Interpretation of Dreams.

I understand that the ‘state of memory’ is inherently subjective and that any recollection of a dream or memory, which when processed, reprocessed over time and fused with the conscious, can fall out of context and be retrospectively idealised. 

However, by attempting to analyse certain aspects of my past in pictorial isolation, I hope to form some kind of framework, albeit built in sand, where I can represent my ‘conscious agreement’ – my identity’s ‘snapshot in time’. A major part of this ‘framework’ focuses on the relationship I have with my mother and is explored by means of a rich combination of staged images with strong allegorical content.  I also hope that the process as a whole will lead to a greater understanding of issues that elude me in rational conscious reflection and that my work will serve as a visual metaphor for what has made me into the person I am today …… but not necessarily yesterday ……. or tomorrow!

Exhibition Swansea Marina

Undone' (2009) exhibition @ Pumphouse/Swansea

Myself and other artists took part in a site specific instillation. The piece of work involved photography, video and instillation. The idea was to create an exhibition that raised questions about temporality and the effects it plays on our memories. 

"Time is continuous, life is temporary and images are sometimes forever."

Home Stills

During my fist year at university I became interested in documenting my birthplace. I wanted to do this as I spent a large part of my childhood away from my family and wanted to revisit aspects from my past. I took my inspiration from eclectic images, I wanted my work to have connections to the past so I photographed using an old Agifold Belows Camera. This gave me a hazy focus and to me represented a visual memory. This idea is something that has stuck with me and has influenced my work ever since. 

My Roots... 2005-2008

My interest  in photography began during my time at school. I had a great introduction to traditional techniques and found this to be a great form of expression for myself. I learned to work within the dark room and I found this process to be my main pull towards photography. I enjoy traditional methods of producing images and as a result the majority of my work was film based during this time.

Through out my course I experimented with a variety of styles and techniques, I found I enjoyed photographing people within my work and spent a large part of my A level course working within the studio. 

Although I look back now and see the crudity in a large part of my work, I feel that I learnt a great deal over this time and it has formed the basis to my work to date. 

A lot of my inspiration over this time came form commercial photography, shoots form magazines and advertisements were my only real experience with photography and the visual arts. I was unaware of contemporary photography and the work that was being done by so many.