The Way It Is, Summer 2016-Spring 2020
see book dummy Moving The Goalposts (2024)
https://www.blurb.co.uk/bookstore/invited/10246847/545cc41385e5d5263952e28a01f41bbc3cce1665
The Way It Is
There’s a thread you follow. It goes among
things that change. But it doesn’t’t change.
People wonder about what you are pursuing.
You have to explain about the thread.
But it is hard for others to see.
While you hold it you can’t get lost.
Tragedies happen; people get hurt
or die; and you suffer and get old.
Nothing you do can stop time’s unfolding.
You don’t ever let go of the thread.
By William Stafford, from The Way It Is, 1998
Over the last 4 years my work is focusing on understanding the changes in perception of my own place in British society forced upon me by issues and attitudes surrounding Brexit.
Since moving to a houseboat on the Basingstoke Canal in 2002, I obsessively photographed details of my immediate surroundings, as a way of connecting with the landscape we are now living in. Looking at my current subject matter I feel there is a common thread that runs through my photographic work: The question of home, belonging and connection.
I am searching for ways of showing my vulnerability and difficulties I have with the current political climate which seem to be a common experience I share with Europeans living in the UK. Reading or listening to their stories since 2016 I find similarities when feelings of being in Limbo are described. The individual experience has been multiplied, becoming a mass.
This impact is not understood by people that don’t belong to this group of stateless foreigners. In an effort to regain my illusion of control I am redacting photographs of oak trees in my garden I have taken throughout the seasons since June 2016 and organising them into grids. Each panel is a composite of 144 images reflecting the colours of the seasons over the last 4 years. Through obscuring the visual information, the images have developed an uncertainty, the pixelated coloured shapes revealing a disorganised pattern that informs my understanding of the society I live in now.
I have created an abstraction of the reality that I am experiencing rather than an objective truth, the digital mosaics breaking the visual information into smaller pieces.
8 images; (1400X1400mm),c-prints
https://www.blurb.co.uk/bookstore/invited/10246847/545cc41385e5d5263952e28a01f41bbc3cce1665
The Way It Is
There’s a thread you follow. It goes among
things that change. But it doesn’t’t change.
People wonder about what you are pursuing.
You have to explain about the thread.
But it is hard for others to see.
While you hold it you can’t get lost.
Tragedies happen; people get hurt
or die; and you suffer and get old.
Nothing you do can stop time’s unfolding.
You don’t ever let go of the thread.
By William Stafford, from The Way It Is, 1998
Over the last 4 years my work is focusing on understanding the changes in perception of my own place in British society forced upon me by issues and attitudes surrounding Brexit.
Since moving to a houseboat on the Basingstoke Canal in 2002, I obsessively photographed details of my immediate surroundings, as a way of connecting with the landscape we are now living in. Looking at my current subject matter I feel there is a common thread that runs through my photographic work: The question of home, belonging and connection.
I am searching for ways of showing my vulnerability and difficulties I have with the current political climate which seem to be a common experience I share with Europeans living in the UK. Reading or listening to their stories since 2016 I find similarities when feelings of being in Limbo are described. The individual experience has been multiplied, becoming a mass.
This impact is not understood by people that don’t belong to this group of stateless foreigners. In an effort to regain my illusion of control I am redacting photographs of oak trees in my garden I have taken throughout the seasons since June 2016 and organising them into grids. Each panel is a composite of 144 images reflecting the colours of the seasons over the last 4 years. Through obscuring the visual information, the images have developed an uncertainty, the pixelated coloured shapes revealing a disorganised pattern that informs my understanding of the society I live in now.
I have created an abstraction of the reality that I am experiencing rather than an objective truth, the digital mosaics breaking the visual information into smaller pieces.
8 images; (1400X1400mm),c-prints
