The first time I ended up in Derby was by mistake. It was September 2014 and I had just moved to Nottingham because I wanted to get onto a MSc course in Manufacturing Engineering at The University of Nottingham. To apply I jumped on the first bus that was heading towards the Student Recruitment Enquiries Centre.
I fell asleep on the bus – it was Monday morning – and at the last stop the bus conductor came to wake me up. The last stop was Derby Bus Station. It was a beautiful sunny morning but I did not have time to stay longer than for a quick coffee as I still had a future to apply for. Five minutes later, I jumped back on the same bus and when we were about to approach the University campus, the driver did his bit to make sure I did not miss my stop again. This was my only connection with Derby until the start of this year.
Probably there is an omen in this story because I never got to attend that course - but that is a different story.
Last December, I applied for something different: an artistic residency in Derby at the Artcore Gallery with a quite ambitious project. I thought it was something I had to try but I never thought I was going to be selected – probably this is why I made it so ambitious. Luckily I was wrong and so had to make my second appearance in Derby on
When I started my residency I began with an Over Head Projector, projecting from an old dried hydrangea head hung on its arm. The visual effects of the projector itself were as much what I was projecting as the image from the old flower head. Colour is coming only from the OHP.
I was also thinking about reflection itself and how reflection can be a metaphor for memory. An OHP projection (as appose to a digital one) is a reflection because it’s the image bounced up to a mirror and then to the wall. I wanted to emphasize this again, so have ordered a paper print to mirror the projected image.
The reflected image is less strong, more transparent and uncertain. Therefor I intend to flip this and have the OHP image on the wall and the artificial ‘reflected’ floor image on paper, a more tangible strong material image. This is purely to play with the idea of the phenomenology of reflection itself.
The blurry image seems to swim up to the surface and is ambivalent. The fact that it came from a flower head is no longer really relevant.
The other image I have chosen to work on is a medium format photo I took, which is again ambivalent, you can see its something natural, leaves or grass or trees. But it sits on the line between abstract and representational. Where abouts on that line I do not know. How this image is seen is the
Where are you based?
I have been based in Nottingham since 2014.How did your artwork start out?
My artwork became very intensive and more than a passion when a friend of mine gave me an old Praktica film camera as a present. Since then I have been documenting the street life in Nottingham and my travels across Europe.
How do you get ideas for each piece of photography?
It depends on the project I am working on. Usually, it is the story behind a person or a specific place, but sometimes it can also be something strictly visual like a particular light condition.
How do you go about transforming an idea like that into a photograph?
Every time is different. I guess I try to find a link or a connection between what I am trying to say and the image itself.
How has your photography evolved over the years?
I would say I am studying and working to make my photography more essential and powerful at the same time.
What does your photography aim to say to your audience?
My photography aims to tell a story or to provoke an emotion.What is the most challenging about your work?
Probably meeting people and creating an intimate relation within a few minutes. It is incredible how deep you can go into someone’s life if they
Where are you based?
I am based in Haarlem Artspace in Wirksworth
How did your artwork start out?
I started working site specifically around 2011. I had been in art education at various points before that, and had read ‘The Poetics of Space’ By Bechelard on my first degree, and this informed my responses to place. I don’t work in this way now as much now but it was definitely my way in.
How do you get ideas for each piece of work?
I have a set of central concerns, drawing inspiration from natural ephemera, and exploring the photochemical mark are two. I am a print maker and use photographs in that process often, taking medium format film photos myself and then choosing from the images I have which to take forward into printmaking processes.
I then have ideas about ways of presenting these images, and how I would like people to perceive the images. These often mimic reflection, or I try to achieve this, often with mirrors. I play with these set-ups until they form a good position.
How do you go about transforming an idea like that into a piece of art?
Play is my main tool, I give myself lots of photos, prints or equipment to play with and test out different combinations of them. The blurred or washed over effect of an image that has passed through an imperfect lens translates, to me, to the recalled or remembered image.