By looking at my practice over time, it's clear that a body of work that has dealt with ideas of light, dark, and twilight has emerged in my practice to a significant degree.
For some years (since 2014), I have made pairs of images in the last light of the last day of the year, and in the first light of the first day of a new year. I’m interested in how we perceive light and dark, and the transition between one state and another. This has become an on-going project where I 'collect' images from the end points of the calendar year. The process of gathering them is almost ritualistic. They are small, framed photographic works, where the point of interest is the comparison of two images of the same place separated by the length of a mid-winter night.
The metaphoric potential of twilight, and how we experience the shift form one state to another, and the sensual delights afforded by fading and emerging light (and between clarity and disappearance) has drawn me to make many works that explore ideas of the indeterminate.
In addition to my "First Light, Last Light" photographic images, I have also made drawings that seek to explore the limits of perception in viewing (and feeling) land in darkness. I have created a series of "Dark Mountain" drawings made with powdered graphite which record the way it's almost always possible to see and perceive something of the land even on the darkest of nights. When night walking (with or without a torch) the senses are stripped back, and the experiences of place seem to be made made more physical. In the un-illuminated night, the eyes also adjust, and one becomes more able to trust the body in relation to space. It's these experiences I wish to convey, and to consider the potential of their translation as metaphor.
Other works include "A darkening" (Super 16mm digital film) 2018, "Remoteness is a medium of clarification" (unique platinum print) 2018, "Nightfall Daybreak" (unique platinum print), "Duration 1&2" (silverpoint/oil paint on board) 2012
