So many evolutions have taken place on my journey from Broadcast (Television) cameraman to the fine art photography I practice today its a struggle to be concise here. but if there is one glue to bind it all it would be contained in the word evolution. To stop learning, in my opinion is to stop evolving as a person, as a craftsman and as an artist.
From shooting purely ‘pretty’ or ‘impressive’ wide vistas my photographic practice has evolved to take appreciation in the more intimate scene. My efforts now, more often than not lending themselves to trying to elevate that which might be overlooked or seen as mundane to something more worthy of pause. You will therefore notice on my site a number of ‘styles’ which speak to this evolving self, which, quite honestly I hope never does stop.
My current photographic practice is taken up with trying to make a technique called ‘Multiple Exposures’ work. That is, taking multiple photographs and blending them, in-camera, which can (but not often) result in an outcome that is both startling and refreshing. Particularly in an era where everything is premeditated, predetermined and any unforeseen can be circumvented via a quick ‘google’, its the beauty and excitement that comes from idiosyncrasy and chance which has, in my opinion, been lost from modern life in the developed world. Multiple Exposures then brings back to my photographic practice the possibility of chance and organic evolution of an image where a mistake made might (and very often is) the reason an image ‘works’. I’m drawn increasingly to the mantra ‘what’s in the way IS the way!’
The finishing of my images has also evolved over time and, while I personally still print all my work to 100% cotton fine art media, I have begun introducing the 2 millennia old technique of encaustic after the image has been mounted to board. Encaustic is the use of natural beeswax (with a component of resin to make it more resilient and prevent melting) where the wax is applied under heat to the surface of the image bringing a mystical, tactile sensibility to an image. This texture, shining, mark-making and etching into the wax allows the works to carry a signature and gravitas they simply couldn’t have otherwise. In many ways I find I’m leaving a part of myself in the work and that is the undertow of my evolutionary process …