Proof of Ghosts; Brighton Photo Fringe; 2022
“In it and through it, she purposefully traces a path, pursues a truth, tries a representation, of sorrow. Images and texts ask about the relationship between private grief and public funerary rites, the abstract prospect of death and its concrete actuality.” Bryonie Reid, writer, On Proof of Ghosts; 2022
“One’s relationship to one’s own shadow -which is not the same as oneself, which one does not own, but which is an inescapable attribute and accompaniment, was for me a memorable conundrum. A midpoint between between a familiar self and the otherness of the rest of the world. It is both of one and separate…
Originally the project was about how we establish identity through recording time. I was planning to explore it through looking at how photography reveals presence by capturing absences in stories…through negatives, shadows, shutters and the involuntary/sub conscious, and my methodology was based on shadow catching. “One’s relationship to one’s own shadow -which is not the…
The Shock of the Now iv Pareidolia; the tendency to perceive a specific, often meaningful image in a random or ambiguous visual pattern. I’ve always loved working with negative space, the area of absence naturally overlooked, the parts that can get cut out. Looking through the wake contact sheets he suddenly appeared in full life…
Shock of Now iii; Trace ’The photograph is literally an emanation of the referent. From a real body, which was there, proceed radiations which ultimately touch me, who am here; the duration of the transmission is insignificant’. Roland Barthes, Camera Lucida p80. The lines on his face, distinctive, deep lines for such a youthful looking man, around…
Something went wrong. Please refresh the page and/or try again.
Joan Alexander