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8 Andrews Rd
I trained as a photographer and social scientist, with a particular interest in anthropology and film studies. The concerns that inform my work are 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.
As a result of my dual studies 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. This method 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.
C/O Berlin Book Days
The 'love is...' project has been selected for it's own table at the Berlin Book days.
C/O Berlin and International Forum for Visual Dialogues have collaborated to bring you the second C/O Berlin Book Days at the Postfuhramt (May 25-26). This year, there will be a variety of presentations, books, lectures, talks, workshops, and exhibitions to immerse the participant into the world of the photobook.
'I LOVE YOU'
My series Marie Claire RIP has been selected for the show "I Love You" curated by Richard Ansett and held at Tenderpixel Gallery in Central London.
PV 11th May
11 May - 16 June 2012
"A photograph is a secret about a secret...the more it tells you the less you know." Diane Arbus
The photograph presents a convincing reality. Creating instantaneously and with such minimal effort, the protagonist behind the lens is incapable of true objectification.
The concept of image purity neutralises its emotional intensity and democratises it to a more conventional aesthetic; information is part of the artist's generated experience, and contemporary image-makers must have an understanding of their antecedents: knowing both where the boundaries are, and when to cross them.
An artistic statement allows for a further context to explore beyond the two-dimensional without imposing a vision. Denying it is either wholly meaningless, or a statement in itself.
Subconscious motivation can only be applied retroactively and being informed of an artist's motivations can transform works beyond their aesthetic immediacy. The power - indeed, the danger - of photography is in its closeness to depriving us of reality. Simple acceptance of what we see only masks the deep issues that direct its core subject matter.
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