A photograph is a visual memory, a record of light passing onto a surface and creating a facsimile of what was there, an archive of the past or a record of history.

The pictures that I take are not just like these real records of the past, they are more like a memory 

and like a memory, they are not quite accurate or true, they are ever so slightly a lie.

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 But is not all real human memory ever so vaguely distorted for the better or worse? Happy memories gain a cheerier glean as the years pass, and maybe recollections of bad events seem worse than the actual incident was at the time?

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It is with this in mind that I create my documentations of events in a constructed manner. The visual memories I create may have happened or they may not have happened, the event its self is somewhat irrelevant,

after all it is just a distorted view of the past.

My choice of lighting lets me create a framework in which to craft a cinematic luminosity in my images, that I can construct and paint with in practically any way I see fit.

In doing this it highlights the true subject of my work, the locations that these little moments in time are created in and not the events themselves.

 

It is the study of how these environments and spaces effect the people and the unfolding stories that happen in them that I am interested in. How the spaces themselves have a direct impact and influence both subconsciously and physically on how people behave and feel. By using large amounts of lighting and using the method of lighting I chose enables me to create spaces that are just on the edge of the real, just in the realms of the known and the undetermined, the familiar and the unacquainted,

 

the memory and the dream,

 

THE ALIVE CAT OR THE DEAD CAT?