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Shadow Dials

Shadow Dialling is a durational process that begins with observing areas of light as they move through a space – along a wall or a floor. By tracing the line between shadow and light at timed intervals I create drawings that become quasi maps to orientate a faded shadow path, something otherwise invisible. This process of tracing the line between shadow and light echoes the early photographic desire to catch shadows, fix an image and capture the preserved moment. Shadow Dial prints are taken mid way, during or at the end of the process.

Shadow Dial Study Xiv Midsummer Day; Centre for Contemporary Art Derry L/Derry; 2019
Archival Pigment Print/ 16.5×11.7″/42.0×29.7 cm/ Edition of 20
£120
Shadow Dial Study; Room Performing Artists Forum St Erme 2009
Archival Pigment Print, 16.5×11.7″/42.0×29.7 cm, Edition of 20
£120

Shadow Dial Study Ii; Hillstead Backyard; Omagh; 2010; series of 6 archival lambda prints; editions of 20 ; 15x21cm/5×7″ or 30×4 cm/12×16″ £125-250. Individual prints possible £25 -100

Shadow Maps

Shadow Maps are completed Shadow dials that I have lifted off their surface by re tracing the lines onto tracing paper and photographing on a window. This process extends the time based duplication inherently within photography. I use positive E6 slide film to create shadow Maps to allow me further experiment with interrupting and slowing down the photograhic process.

Shadow Dial Study Viii; Solar Noon; E6 Slide Map
Archival Pigment Print, 40x40cm, Edition of 20
£125

Shadow Dial Study Viii; Solar Noon; E6 Reversal print Map (for E6 reversal print see description below in Light Studies)
Archival Pigment Print, 40x40cm, Edition of 20
£125

Light Studies

Skylight, dust, smoke and cinders have been central elements in this work and allow it to explore and stretch photography’s process of recording time and space. Snow-light Reversal I & II were recorded on E6 slide film, a format that omits the photographic negative, I treated these slides as negatives in the colour darkroom to produce a reversed positive print and introduce an unnatural element of time to each frame.

Light Reversals

Shadow Dial Study IIv; Hillstead Snow Light Reversal
Archival Pigment Print, 50x50cm , Edition of 20
£125
WestShadow Dial Study IIv; Hillstead Snow Light Reversal
Archival Pigment Print, 50x50cm , Edition of 20
£125
Shadow Dial Study IIv; Hillstead Snow Light Reversal
Archival Pigment Print, 50x50cm , Edition of 20
£125

Shadow Castings

Shadow Dial Study Vi ;Normandy Figure, On wire darkroom cast
Giclee print, Hahnemuhle paper, 20x20cm , Edition of 20
£100

VI Normandy Figure iv Risograph file; 6×4″ rispograph print book with wire loop stitch binding; £20

I took the photographs in Normandy figure during a cycling trip to France with 2 friends. We reached a village during siesta, it was very still, quiet, almost uncanny. At first I was taken aback when i saw this lady in her window, in her gown and didn’t take a picture until I had walked once around the village. She was still there when I stopped and returned to my bike. Later that year in December, between shooting and processing these pictures I visited a cemetery in Lisieux Basse, Normandy and made shadow cut outs out of the Saint Therese figurines on the gravestones. Later I made Normandy series, taking the lady out of her window and letting her move around the space and time of her original place, where she had been imprinted on the emulsion. This series became quite important and I used it to as a project to experiment with my ideas as I began Shadow Dialling in earnest. To explore what photographic process does by exaggerating and delaying stages of it: tracing light, duplicating lines , transferring, enlarging , exposing , using negative and positive, switching unseen for seen. Background to Normandy figure (extracted from a conversation with Rebecca Drew) .

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