I am unsettled by the way we come to know the world through images. The dislocation of time and place and the interplay between subjectivity and objectivity create a socially-mediated, synthetic way of knowing which can be corrupted. I find the result of this spectacle dislocating, as it supplants in my perception a way of knowing that is not my own. To stimulate and disrupt perceptions of our time and place in the image-based world I create immersive, large-scale, abstract still and moving images, often as part of a site-responsive installation.
The work reneges on the socially-conditioned expectation of a recorded image to represent a recognisable time and place. I orient the viewer to the invisible, to what is missing, suggested or felt by using photographic devices like cropping the perspective, reorienting the image and changing its scale or colour to de-contextualise the part from the whole. In doing so, I want to provoke an examination of what can be known in the present from the image-in-itself, rather than what reflection of the world was recorded in the past.
By stripping away all but the banal and the marginal elements of light, technology and geometry, my documentation of the built environment provokes a reflection upon that which cannot be seen. It may be a photograph of a stairway devoid of a recognisable start and end point; the hypnotic recording of temporal-spatial anomalies of the track outside of a speeding train; or an installation where still and moving images are combined with alterations to the light or structure which reflect or disrupt the narrative of the site. With these abstract images, I seek to stimulate considerations of a state of flux and dislocation, the circular flows of life and death or other transcendent issues of the human condition.