‘Thought Processes’

 

Photograms on paper

Thinking through the photographic process, capturing light, transparency and translucency through glass and film, both essential materials in analogue photography.

‘Blueprints and propositions’

 

Cyanotypes on watercolour paper

A series of architectural cyanotypes, playing with the idea of traditional ‘blueprints’ as plans for buildings, and alternative process photographic experiments as propositions for artworks.

The ‘Isokon’ print is part of my series on the Isokon & Bauhaus buildings.

The aviary prints are part of Michaela Nettell’s project ‘Less A Building: Interactions with the London Zoo Aviary’.

‘Transparent history’

Silver gelatin photographs of the History Museum of Bosnia & Hercegovina, Sarajevo.

Reflecting on the museum’s steel and glass architecture, and its changing character and role in society, from its construction in 1963, through the years of Yugoslavia, and the 1990s war up to its present, new and crucial role as both archive and hub of national and international research and activity.

Silver gelatin photographs on Ilford Multigrade IV RC paper from Ilford FP4 Plus 35mm film

‘Safe as houses’ & ‘Torn’

 

A series of architectural Polaroid emulsion lifts on diverse substrates

‘Safe as houses’ series, colour Polaroid emulsion lift on Perspex,  8 x 29 cms, and on watercolour paper, each 15 x 21 cms

‘Torn’, b/w Polaroid emulsion lift on watercolour paper, 29.5 x 21 cms

‘Safe as houses’ series, colour Polaroid emulsion lift on glass cube,  2 x 2 x 2 cms

 

‘Looking In, Looking Out’

Installation

‘Looking In, Looking Out’, installation, dimensions variable

‘Looking In, Looking Out’ comprises three parts: two digital photographic prints and a sculptural, perspex piece incorporating prints within it.
The installation was created specifically for the ‘Anna Freud and Play’ exhibition. It forms part of my ongoing series of acrylic architectural constructions. This version incorporates pieces of the children’s classic building toy ‘PlayPlax’, designed by Patrick Rylands, made of transparent and translucent Perspex.

‘Trial’

Lightbox with 35mm negative film strip

Metal, Perspex, LEDs, 35 x 30 x 35 mm; Ilford HP5 Plus 400 processed negative film roll, 1010 mm

‘Laurana/Lovran’

Series of digital photographic prints on glossy archival Kodak Royal paper.

Each 30 x 22 x 2 cms framed

‘Laurana/Lovran’, 2015

Light on the night sea resembles crayon drawing on paper.