Birds in Flight

  Birds in Flight I
2006-7 / gelatin silver print on fibre-based paper / 50 x 50 cm / edition of 5

  Birds in Flight II
2006-7 / gelatin silver print on fibre-based paper / 50 x 50 cm / edition of 5
  Birds in Flight III
2006-7 / gelatin silver print on fibre-based paper / 50 x 50 cm / edition of 5
  Birds in Flight IV
2006-7 / gelatin silver print on fibre-based paper / 50 x 50 cm / edition of 5

For Birds in Flight, the flight patterns of birds have been digitally rearranged in order to subvert comforting or ‘inspiring’ images of birds in flight, creating new images of birds flying in slightly unusual and more menacing patterns. By repositioning birds so that they appear speeding towards one another on collision courses or arranged in wrought geometrical formations, this generic image of freedom is subjected to the formal constrictions of a controlling technology. Like Hitchcock’s The Birds, the series references wartime air raids (the black and white, grainy aesthetic of the photographs refer to early twentieth century images of planes in the sky) as well as taps into our generation’s renewed interest in the sky as a space of potential cataclysm. The photographs both suggest impending disaster and present a moment of serenity snatched from the rush of time.

Birds in Flight is held in the permanent collection of the Victoria and Albert Museum, London (GB).

Supported by a bursary from the City of Westminster Arts Council.

  Parted (Pair)
2010 / colour photographs mounted on aluminium
  Parted (Trio)
2010 / colour photographs mounted on aluminium

The series Parted is based on a set of found photographic slides. In each set of photographs, the human subjects have been digitally separated from each other and displayed in their own distinct photographs, rather than together as they originally were.

In Parted (Pairs), the couples have been parted into two separate photographs, and then flipped so that their backs are turned toward each other. This pair of images is then placed next to another pair that has undergone the same process. A relationship between the two pairs is created.

In Parted (Trio), three people on a sofa are now displayed individually in this same sofa, creating a new tension between the three images.

  2004-5 / pigment prints / 13.5cm x 20.4cm, 13.5 cm x 19 cm and 13.5 cm x 17.5 cm

The series Absent is based on three famous hoax pictures. The first image derives from Elsie Wright’s 1917 photograph of fairies; the second image is based on the 'surgeon's picture' of the Loch ness monster taken by in 1934; the third image derives from a still from the alleged Roswell alien autopsy footage that was circulated in 1995. All photographs have subsequently been revealed as hoaxes.

The original photographs themselves were not strictly speaking unreal: everything in the picture was in front of the camera and captured without double exposures, combination printing, retouching or other tricks. The fairies, monster and alien were simple props. In Absent I have chosen to digitally remove these props, in an effort to restore reality within the images. It is an attempt to make a manipulated image that is more real than its ‘straight’ original.

Read more about Absent

  2002-10 / colour photographs in gold locket, chain / each locket is a unique work

This is a photographic documentation of an object. The object consists of a gold locket, chain and two photographic prints. To date, ten different unique objects (each one made with a different gold locket and different photographic prints) have been produced.

The objects are intended to be worn as neclaces. The photographs within the objects depict breasts; each pair of breasts have been taken from free pornographic images from the Internet, and specially selected because the size and shape of the breasts matched the size and shape of each locket. The lockets celebrate sexuality in the light of romance, and is made in honour of all topless girls on the Internet.

  Big Ben, February 2003
  2003 / colour photograph / 29 cm x 29 cm / edition of 5

In Big Ben, February 2003 an elongated, erect version of the Houses of Parliament is revealed, representing the
British governments hubris at the onset of the war against Iraq. The protest placards by anti-war campaigner
Brian Haw, who had been demonstrating on Parliament Square since 2001, can be seen in the foreground.

  European Palaces
  Buckingham Palace, London
2001 / colour photograph / 19.5 cm x 29.5 cm / edition of 7

The seven images from the series European Palaces depict the official palaces of the seven monarchies in Europe. Each image has been retouched so that the palaces no longer have any windows or doors and each national flag has been removed. The intention was to make something reminding the viewer of monuments, memorials or mausoleums. Perhaps the palaces are thoroughly redundant as buildings, only of interest to tourists or as landmarks. The series can be seen in the light of European history: the integration of our royal courts in view of current European integration. The project also reflects the architectural history of palaces – how castles progressed from being windowless defense points into modern palaces full of windows expressing confidence, wealth and sophistication.

Go here to see more from this series - European Palaces.

  Royal Estate
  Windsor House, Holyrood House, Kensington House, Sandringham House, Balmoral House, Buckingham House and St James's House
2003 / colour photograph / 90 cm x 180 cm (edition of 3) / 50cm x 97 cm (edition of 6)

The Royal Estate is constructed from photographs taken of all the British official royal residencies. Each palace has subsequently been reshaped and transformed into a high-rise. These palatial tower blocks are then put together into one image, showing one 'royal estate'. The title refers to the real estate owned by the Queen, as well as to the council housing estate – the compromised version of the modernist dream of low-cost rented housing for all – 'palaces for the people'. The Royal Estate is an architectural proposal.

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