I am an artist working mainly with photography as an expanded practice.  I am interested in photography as an image, as an event and an act of observation. I use the camera as audience to performed actions, with a photographic imperative; the performance must be photographed or sometimes is the photograph. In this capacity, I am on both sides of the camera at the same time, in a state of superposition (a quantum physics term for the status of matter existing in all conceivable states at the same time).

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I recently completed a practice-based PhD at UAL, titled: Photographic Practice and the Status of Superposition: Image, Observation, Event. At the point of dissemination or exhibition, the works engage once again with an element of performance, or at the very least an event of (audience) observation. For example, at Oxo Gallery, London, March 29 - April 16, 2017, I invited the participation of over 600 people across the globe who visited the exhibition, to place a white dot onto the surface of two photo-works ‘on or around the figure of the body’,  making a progressive disappearance of (the image of) the artist (see Waves and Particles, 2017). I am interested in an invested lived-experience in the work, of both artist and viewer in the process of making and viewing.

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Much of the work is made in places of (personal) significance, where there may already be some form of lived-experience as in an existing memory, or a wider association (see On Not Becoming Casper David Friedrich, 2018 for example, that was also screened at Palais de Tokyo, Paris). There are various intended dualities in the work in operational and notional ways, some inherent in the medium of photography itself (as representation) and some enacted or embodied in the process or image.  This is an intended construction of superposition, as the development of a new paradigm for photography that includes both the status of superposition and the collapse from superposition (in-status and in-collapse).

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Photography can engage with quantum theory in a manner that no other form or material of representation can.  The states of superposition are entangled with photography as a process of recurring -status and -collapse, as in life itself, and so ultimately my work is about the (my) human condition.

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