Photo Sto­ries

This ab­stract pho­tog­ra­phy re-ex­am­ines light and ge­om­e­try

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Two bud­ding pho­tog­ra­phers re­veal their best pho­tos and the cool sto­ries be­hind them

All th­ese im­ages were taken us­ing a Canon EOS 500D, which I love to shoot with as it’s a good qual­ity cam­era that’s still af­ford­able. As a sculp­tor pre­dom­i­nantly, pho­tog­ra­phy has three pur­poses in my art: I use it to re­search, to doc­u­ment the process and fin­ished work, but also as a sketch­book and way to think through ideas. Of­ten with the lat­ter this is a way of cre­at­ing in­ter­est­ing ab­stract im­ages from sculp­tures I’ve made, and they be­come art­works in their own right.

As an artist I cre­ate sculp­tures, pho­tog­ra­phy and in­stal­la­tions that ex­plore how I per­ceive ge­om­e­try, light and ma­te­ri­als as I move through ur­ban spa­ces. I aim to draw the viewer’s at­ten­tion to­wards form and ma­te­ri­als, em­pha­siz­ing the way that struc­tures con­trol or are changed by light and high­light­ing how of­ten the eyes can be de­ceived.

I use ma­te­ri­als that re­late to our built en­vi­ron­ment to make sculp­tures that in­ves­ti­gate the per­cep­tion of ma­te­ri­als and ge­om­e­try from modern life.

Some­times the in­ten­tion is that my ideas will be fi­nal­ized through ab­stract pho­tographs. I ex­per­i­ment with ma­te­ri­als to pro­duce im­ages that be­come op­ti­cal il­lu­sions, mak­ing the scale am­bigu­ous and/or en­cour­ag­ing the viewer to re­con­sider their per­cep­tion. The dif­fer­ent per­spec­tives in 2D work (as op­posed to 3D)

af­ford the viewer an al­ter­na­tive and more psy­cho­log­i­cal ex­pe­ri­ence where they could imag­ine be­ing in­side the space.

All th­ese pho­tos were shot at dif­fer­ent points over the last ten years. Some, like In­fi­nite Points, were shot while I was study­ing at the Glas­gow School of Art do­ing a BA in Fine Art Sculp­ture. Some were taken while I was on ex­change in Ky­oto, Ja­pan, or once I had left art school do­ing com­mis­sions such as at the BBC in Scot­land or for Tay­lor Vin­ters’ of­fice spa­ces in Cam­bridge, Lon­don and Sin­ga­pore. Oth­ers were purely ex­per­i­ments in the stu­dio to de­velop new ideas.

I like to use pho­tog­ra­phy as a dif­fer­ent way of ex­plor­ing ma­te­ri­als, and I be­lieve it’s a great way of think­ing about the use of light in art­work in a very dif­fer­ent way.

I like to use pho­tog­ra­phy as a dif­fer­ent way of ex­plor­ing ma­te­ri­als, and I be­lieve it’s a great way of think­ing about the use of light in an art­work in a dif­fer­ent way

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