During my BA in Fine Art Photography at Camberwell College of Arts my interests initially originated from the voyeuristic values of photography, questioning its truth and artistic representation of reality. This later developed into how the eye and mind processes and reconfigures information daily. Comparing parallels to the transformation of information made by the camera and operator and the eye and mind, both creating something new and abstract from reality yet visually understood in a similar way.
My work has explored these themes through many multi media outcomes. Predominantly making and using filters, by casting resin and experimenting with plastics that distort and recolour both analog/digital photography and video, to exploit the cameras manipulability. Later branching into sculpture, in a project titled ‘Photograph, Reverse Photograph’, using abstract photographs as a source of visual information with a 3D to 2D to 3D formula, so that both input and output can be compared, in this case photographs of latex gloves and three cast sculptures made with plaster. Its important to my practice to be hands on experimenting with new materials regularly.
Both of my parents were soft furnishers during my childhood so I developed a great love for interior design, particularly of 60s and 70s, which I’m now beginning to merge with my practice to create interactive and immersive environments. I also find inspiration from biology and nature, one of my ideas, behind my final piece, Eye Can’t See, combined with the concepts of perception inspired by the Light and Space Movement. The work is a deconstructed, non functioning eye made up of a lens, and retina. The lens is made from plastics that creates perceptual shifts, and the retina from textile rods and cones, how we see colour and black and white, which act like a chair that can be interacted with. Eye Can’t See is intended to highlight the act of looking and consider the body as a habitat.