The nature of my work is photography and print based. My photography is the basis throughout my works development. All my exploration in print has been undertaken using my own images. My photography essentially involves form and structure through the architectural aspects of any given building that I come across. But the majority of my images are taken in spaces that are run down or derelict, where the prescribed initial configuration has been somewhat distorted or damaged , this then making my imagery more abstract or ambigious in comparison to traditional structural photography. I have recently been developing my imagery following the influence of painter Sean Scully, whose paintings evolved from his photographs illustrating his travels. Like Scully my practise has revolved around my documentation of photography, exemplifying different locations that I have visited. My imagery is ever changing as new projects are built. Originally my images were made up of more simple relationships of structure. An example of these simple structural elements would be; old windows and rusty doors against a chipping brick wall, and then against this background photographing there aesthetical composistion. The simplicity of these images was merely a starting point to my expansion of imagery, my latest series of imagery however has moved on from this, and is the result of a journey through my discovery of newly destroyed building arrangements. My travels have now been primarily rooted to larger spaces, for example buildings in the process of demolishment, factories after conflagration or old buildings thats are now in use by squatters. My interest in these vicinities is the aspect of its rareness. When entering these spaces the edifice is like no other structural creation, its original safe manufacture has been destroyed; windows, doors, walls and ceilings no longer have a comprehension of one another and therefor their more formal relationship is lost. In the death of their composition a new assembly has been born, its characteristics are; scarce, curious and infrequent, this remarkable new resemblance then becomes my means of context. In effect my aim is to display these records of formations to the viewer in a way that allows them to witness the beauty in deteriorating structures or fading architecture, ones that will not be available to us forever. As an artist I can display beauty in the unconventional of which in an aesthetically pleasing sense would not be seen or noticed in routine mundane circumstances. These occasional displays of structure are limited as modernisation grows and through my constant incisive searching I aim to capture and document them before they decease.
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