My photographic work often involves an element of performance and is rooted in questions of identity, in how we are constructed as human beings and in the lexicon of languages we must adapt to and adopt to survive. Further, in what we look to and re-fashion, as individuals, in terms of constructing ourselves.
My studies have included Photography, Fine Art, Film and the Social Sciences. As a result I've been keen not to make distinctions between the contexts in which different disciplines may operate or confer a hierarchy on cultural practices. Instead I ask when a certain process or approach might be useful, a method which has led to a form of appropriation in my work, though one that is never stable.
My materials began with the personal - letters, diary excerpts and family snap-shots, and now include their public equivalents - films, books and magazine articles. The process of re-presenting these varies depending on the chosen material. It is always something that emerges over time and begins with the act of collection. Where some pieces are produced in complete isolation, such as Marie Claire RIP, others involve the collaboration of strangers, like the postcard series Love Is....
Recently I've become interested in Protest. The Suffragette Movement provides a historical context for the performance and investigation of protest today, a fixed vantage point from which to explore the myriad issues at play in contemporary society. It also acts as a counterpoint to my own confusion. A confusion born of fatigue at the information overload that surrounds the globalised internet generation.
Today awareness has become a stand-in for knowing. We are bombarded with cues for action, but with so many cues we can't decide which action path to take. Besides, the cues just keep on coming. They coalesce with all the other triggers of the 21st century. Consumer cues vie with personal directives and somewhere in the maelstrom we seek to find meaning.
In all, my driving concerns remain constant: an exploration of the individual as a physical and psychological collage; a study of the ways in which we are simultaneously created and self-creating, of the way our worlds and our selves entwine.
CV & Education
2011 - Shoulder to Shoulder, Matt Roberts Gallery, Vyner Street, London
2008 - Try to Do Things We All Can Understand, Streetlevel Photoworks, Glasgow, Scotland
2012 - "I Love You", Tenderpixel Gallery, Cecil Court, London
2012 - C/O Berlin Book Days, Postfuhramt Berlin, Germany
2012 - Colletible, Bond House Gallery, ASC Studios, Bond House, Goodwood Rd,, London
2012 - Photosoup, Unit 24 Gallery, London
2010 - Discoveries, John Cleary Gallery, Houston, USA
2010 - Print Now, Bearspace Gallery, London
2010 - Print Now, The London Art Fair, London
2009 - Format 2009 - Photocinema, International Photography Festival, Derby, UK
2009 - Group / Grope, Area 10, Peckham , London
2009 - Helsinki Photography Triennial 2009, Helsinki City Art Museum, Finland
2009 - Salon Summer Show, Salon Contemporary, London
2008 - Click Chicks, Dallas Contemporary, Dallas, USA
2008 - ICY, Minnesota Centre for Photography, Minneapolis, USA
2007 - 2nd International Fotofestival , Heidelberg Kunstverein, Germany
2007 - Darmstadter Tage der Fotografie, Darmstadt Hall, Germany
2007 - Girl Parade, Australian Centre for Photography, Sydney, Australia
2007 - Marie Claire RIP, Quayside Arts Centre, Toronto, Canada
2007 - The Emergence of The Digital Portrait, Clampart Gallery, New York, USA
Competitions, prizes and awards
2011 - Salon Photography Prize Overall Winner, Matt Roberts Arts, Vyner Street, London
Educational experience - secondary
2009 - MFA Fine Art, Goldsmiths, London
1996 - BA (Hons) Photography - First Class, Nottingham Trent University, Nottingham