We have become accustomed to an inherited visual language that represents the world on our behalf but these are not natural rules. Our landscape has been hijacked by an historic aesthetic that infects the interpretation of contemporary life. The established rules of engagement in the creation and understanding of imagery are archaic. Notions of beauty are infected with nostalgia and we are presented with a mono-cultural interpretation of our complex world that is an anathema to the reality.
The existing frameworks that contextualize events on our behalf, allow us to subjugate any responsibility for the content we view.
As a critique and personal enquiry, the ideas of transparent narrative and conventional aesthetics are subservient in these images to a pursuit of a genuine emotional engagement. Using my practice as an ongoing exploration into the effect of congruence on the interpretation of space, I explore the frames of reference through which we view and interpret the world; two dimensional perspectives are continually scrutinised and never accepted as being a definitive representation of reality.
Our relationship to reality is unique and should not be assumed to be shared.
The observation of the world is predicated on the foundation that any understanding is reliant on an interpretation of the world influenced by forces within and beyond our awareness and that photography, irrespective of content, is an autobiographical statement. All published works here illustrate this as a record of a single perspective and do not represent any conventional communication or truthful narrative of the subjects complicit in the works.
Through my adoptive experience I have come to recognise my unique dislocated relationship to reality and through this third party relationship I empathise with what I perceive to be a broader societal sense of existential isolation as an consequence of individualism.
There is a wider reality experience existing in multiple parallels to our own.