Photography

Title, formatted in sentence case (Not Title Case and NOT ALL CAPS), hints at an interesting issue and/or methodology, doesn’t spill onto a third line (ideally) and isn’t hot pink.
June 2018
This digital image forms part of an exhibition of posters made by Ph.D. researchers who each produced a poster which played with and pushed beyond the conventions and expectations of an academic poster.

These are currently exhibited as part of Sheffield Hallam Creative Spark exhibition on the 3rd floor of the Old Post Office building.

For more information:
Sheffield Hallam ADRC Poster exhibition









Visual interruptions taken during the Interrupteur Residency (April-June 2018):














Tracing Shadows (ongoing series of work) 2018-19:

While making these digital images I have thinking and reading about the trace, as written about by Jacques Derrida. The trace can be thought of as neither present or absent, no element of the sign is every fully there or not there, the trace is not the remainder of something that has gone but it is a mark of what was never fully there. It cannot be fully seen or thought as it is the position between, the difference between the spoken and the written, the difference or transversal action between ideas.

According to Derrida, [logocentric] writing is ‘nothing but black, a shadow-writing, writing for protection’, and ‘its clarity derives from that which it excludes, that which is withdrawn, removed, outside of it, which is separate. This is meaning and truth. If writing is protection, if it casts a shadow to shelter us, then it conceals as much as it reveals.

The photographs are of objects that appear both absent and present, disrupting the sense of defined territory and resisting immediate interpretation. The shadowy trace produces a liminal space, which exists somewhere between physical presence and absence. In using the computer to make sense of the difference between an object and it’s background the oppositional positions of figure and ground are challenged. The ambiguity of the images produced refers to the as-yet-unwritten, the as-yet-unread, the as-yet-unthought.









Phantom Exhibition, group show at the Anglian Ruskin Gallery, Cambridge, curated by Jane Boyer 2016

Artists were asked to remake a piece of work selected by Jane Boyer for the show. Each artist was allowed up to 3 further iterations of the original work.

In thinking again about the ideas contained in the initial work for this show Cropped Remainder—materialising less visible processes or the deleted, in the action of constructing an object, I began to investigate how these notions might emerge in other ways in my practice. I am interested in process and how much becomes cleaned away in moving toward a finished object, whether in drawing, writing or photography, the main strands of my practice. My research is concerned with interrupting the processes of sense-making though materialising less visible actions around thinking, reading, writing, and speaking. This enables an exploration of the ways in which we construct meaning and the things that are lost in the act of communication. The gaps and spaces as well as the deleted or forgotten are as much of interest as the object of language itself.

Recently I have been exploring ideas around metaphor and the idea of shifting between different registers as a way of exploring the process of sense-making. This seems pertinent to ways of exploring translation, remaking, reworking, and replicating ideas continued in the premise of the Phantom exhibition. 


Cropped Remainder (2014):


Marginalia (2016):



Figure and Ground series of nine prints (2016):


















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