Welcome
Working traditionally in medium format on film I focus on colour, texture and abstract forms.
In much of my recent photography reflections have become the central theme.
The Play of Light (2000) series was photographed in Tel Aviv. These images created entirely within the camera, for me have a painterly richness which seems to defy the mechanical nature of the photographic process. The constantly changing shape, rhythm, distortion of the reflections seems to echo the unreliability of memory.
Since 2003 I have been taking pictures of the canal in Amsterdam (series Resonance) and of the Basingstoke Canal (Winterstille, Stille).
The transformation of the canal is a never-ending source of wonder; it is made of stagnant pools that are totally sensitive to minute changes in light, wind climate and the seasons. There is poetry within the constantly rippling water that mutates all it touches with an unpredictability that seems to reflect the lack of control we experience through existence. The images have a depth, which lies beneath the surface and permeates the work with a feeling of mystery that is aimed to draw the viewer in. Water has a resonance with memory, pictures dissolving into one another coming into focus and fading away. Freezing the motion of water or framing a small part of it becomes an abstraction, something that exists only for the briefest of moment and is unrepeatable.
In the series Serenity, using traditional over layering techniques in the camera and darkroom I seem to preside over the journey without being in control or aware of its final destination.
Recently I am focusing on the canal's surroundings in Surrey throughout the seasons (series Ray of Light, Treescape).
In much of my recent photography reflections have become the central theme.
The Play of Light (2000) series was photographed in Tel Aviv. These images created entirely within the camera, for me have a painterly richness which seems to defy the mechanical nature of the photographic process. The constantly changing shape, rhythm, distortion of the reflections seems to echo the unreliability of memory.
Since 2003 I have been taking pictures of the canal in Amsterdam (series Resonance) and of the Basingstoke Canal (Winterstille, Stille).
The transformation of the canal is a never-ending source of wonder; it is made of stagnant pools that are totally sensitive to minute changes in light, wind climate and the seasons. There is poetry within the constantly rippling water that mutates all it touches with an unpredictability that seems to reflect the lack of control we experience through existence. The images have a depth, which lies beneath the surface and permeates the work with a feeling of mystery that is aimed to draw the viewer in. Water has a resonance with memory, pictures dissolving into one another coming into focus and fading away. Freezing the motion of water or framing a small part of it becomes an abstraction, something that exists only for the briefest of moment and is unrepeatable.
In the series Serenity, using traditional over layering techniques in the camera and darkroom I seem to preside over the journey without being in control or aware of its final destination.
Recently I am focusing on the canal's surroundings in Surrey throughout the seasons (series Ray of Light, Treescape).