Sunday, 28 November 2010
Saturday, 27 November 2010
Sunday, 14 November 2010
Sunday, 7 November 2010
Wednesday, 3 November 2010
portrait photographers often go for the pleasantly derivative or the pointlessly quirky. london photographer, jens marott doesn't flatter or imitate. he goes for truth. i don't like being photographed but i was happy to be part of jens' project which can be seen here, along with his other portfolios and projects: one hour photo project.
Sunday, 17 October 2010
'Memory' was selected by photographer Bill Henson for the Capture The Fade exhibition at the Paper Mill Gallery in Sydney, Australia opening on the 17th of November for 2 weeks. It will also feature in the next issue of Ampersand Magazine, due out February 2011.
"Culture is never outside nature: the sweetly impenetrable musings of these image-makers gracefully re-kindle and reinforce our respective imaginings and help us, via these gentle reminders to re-enter the dreamscape – those ‘twilit regions’ from whence we came as children and as a civilisation.
The particular quality that attracted me to the work of these people hovers around such notions. Thoughts half realised or rather the sense of something slipping away from thought - and of emotions often powerfully apprehended yet not fully understood.
Like Watteau’s ‘Embarkation for Cythera’, these pictures, albeit in very different ways, hint at this same yearning for an otherness, an elsewhere, a lost domain. They may well indeed turn out to be capturing the fade." .... Bill Henson
Thursday, 9 September 2010
Japanese cinema of the 50's, particularly Yasujiro Ozu's work, has made me want to return to a simpler form of photography; namely, pillow shots, the 'infra ordinary', the challenge of expressing meaning through simple objects and banal interiors ... it's a real challenge expressing grief in 'objects' but it attracts me anyway, to find that sense of nothingness (mu) in our usually over-accessorised worlds... maybe it can't be done with static photography. anyway, for the moment, with 120 film, much of it decades out of date and an old mamiya c220, i'm trying to develop this cinematic language and find the extraordinary in the ordinary as Ozu did.