Where Light Casts no Shadow, 2008

This series was conceived and developed over a period of 8 years but only publicly presented, for the first time, in 2008, in the context of the BESPhoto 2008 prize, alongside the series When Light Casts no Shadow.
These are images that apparently depict precise geometrical and rectilinear structures but which at closer inspection reveal a myriad of inconsistencies.
In this series I was interested in developing a visual vocabulary that resulted from the failure/corruption of the photographic process, whilst challenging Photography’s inextricable dependence on light.
I experimented, over many years, with different exposure techniques and materials and finally created these images by scratching lines onto lithographic film, then printing the film on colour photographic paper, scratching over the existing grid, and finally shooting the print and leaving the film exposed to time, buried in some form or way, to oxidise. The result is images that look like very precise drawings or grids from afar, but which, at close up, reveal all the incongruities inherent to the process and the passing of time – the skewed lines that result from drawing the images in near darkness, the corruption of the film by the weather, and being buried in total darkness.
Photography, by its very nature, is a medium that allows the photographer to exert almost complete control over any given situation or its subjects. My intention with this body of work was to relinquish some control over the process of producing images.
I came into photography because of what I perceived to be the possibilities that the medium opened up. Strange, then, that what motivates me, nowadays, is not the latent potential of Photography’s technical processes, or its possibilities, but its inadequacies, its insufficiencies.
I find Photography to be a highly inadequate medium for communicating ideas and as a result I am constantly wrestling with this recalcitrant medium. However, it is this very anxiety that spurs me on to find a new visual language to work with and, I suppose, a new vocabulary to continue representing and reconfiguring reality in all its complex uncertainties.