I work across media and incorporate both still and moving images in my films. I work in differing genres including poetry based fotofilms, art documentaries and immersive installations. Much of my work concerns our relationships with and between ourselves. Implicit rather than explicit, it centres around our relationship with our environment (s) and how we interact with it. For example the light drawings harness wind and sea power alluding to alternative energy sources. We leave our mark on the environment by the way we manage our resources. For example in the series Relics, it analyses discarded objects as forensic slides opening up ideas on past history and use. In 'Angel in the Trees' and the early interactive digital mapping, as in 'Journey Of The Skin Man' it highlights not only our physical travels but also our inner journey.
My first artDoc was in 1987/8 on the environmental artist John Herbert for his Craft Council funded touring exhibition 'Silent Trails' followed by 'Image, Music. Text' on the artist David Dodsworth fir his New York exhibition. My most recent is a film on the sculptor Laurence Edwards on his creation 'Man Of Stones' for the Sainsbury Centre at UEA Norwich. I am currently working on another short artDoc.
Ongoing exploration of how we as humans interact with each other and our relationship to tourist places. Micro dramas for the digital age.
Large scale sound and vision projections for an immersive experience. Working hand in hand with my own curated sound pieces to explore a shared environment of large screen projection.
Green Sofa Sessions
Pushing ideas forward from my portrait stills at the yearly Americana Music Festival in Suffolk, I developed an approach to film the musicians performing life at the festival on y Green Sofa.
Working with specially constructed drawing tools in the dark of night I engage with natural elements including the sea and the wind to map out spaces and environments, tapping into the natural energies to trace and draw, and document unique, live, site specific performances. The reality of the captured image is fundamental to all my work, particularly with long exposure photography.
This concept of time is crucial to my ideas, exchanging the classic definition of photography as a series of instant glimpses of the world in which we live, to a personal definition of ‘space-time’.
All my fotofilms are created on chosen locations. I create a field of vision for the light drawings to take place; the outcome is unknown. The photograph is the evidence of an 'event' that has taken place, a 'performance' that even I myself cannot see in its entirety. During creation, only the process is evident. It’s through the inherent values in photography as a documentary process that I realise the idea.
from Building No 9 (work in progress)