A print series developed whilst studying MA Photography, 2007-09. Working with mirrors taken to classic examples of English woods, fields, rivers and coastlines, a shooting process was developed where briefly glimpsed compositions were caught in-camera. The resulting pseudo-landscapes contain subtle linear interventions, or more pronounced disturbances, closer to or at the image surface, that complicate the logic of the pictorial space.
Wood I, II, Field I, Down I
Media:, C-Type print, 100cm(w) x 75cm(h), 2007-2009
The shearing and smearing of the bevelled edge of the mirror in each image, runs counter to the traditional hard, cropped edge of photographs. This references and brings into the centre, the usually cropped-away indistinct edges of raw images when formed by lenses, as well as alluding to the peripheral vision of the human eye. This slippage area acts as an optical marker between the parts of the image that are reflected and those that are not, hinting that the images are not as they first appear.
Sea I, II, River I, II
Media:, C-Type print, 100cm(w) x 75cm(h), 2009
Despite the various interventions, these images still connect with a long-standing Western landscape tradition. In this sense they are rogue kind of picturesque; being reminiscent of prior images but also referencing the reciprocal relationship between painting and photography. The picturesque however has a fraught status today, torn between attempting to carry beauty and the ideologies of power, national identity and the cultural construction of nature. The images set out to underline this, offering variants of the beautiful impaired by dislocated links to its referents.