I am interested in mobility - of people, things and data - and in the impact this has upon the sense of self both, when alone and as part of a community. With an ever-increasing number of friends and contacts spread ever further across the globe, how many of us actually know our neighbours? And with a mobile phone in your pocket, why ask a stranger on the street for directions?
My work may be understood to be in two parts. One is fairly quiet photo and video work. I gather photographs in my daily life, which I later edit to create series and sets. My video is usually shot with fixed frame and sound as recorded on site. It provides a window on the world for a few minutes, like an extended photograph. I find it interesting that it can be easier to give one's attention to something that is mediated (via video or film) as opposed to sitting for ten minutes and watching an actual view.
The other side of my practice is more participatory, where I involve others in the image-making process. I do this either though the distribution of cameras (as in The Broadway House Photo Project and The Trans Siberian Project) or through conversation with my subjects (as in The George Richmond Portrait Project.) In this way the images produced through these projects are the result of collaboration rather than ‘taking’ pictures according to what only I see. By working in this way, I step away from the traditional role of photographer as outside spectator. Instead I am forced to interact with the community or cultural context I am working with(in). The Art Project provides an excuse for me to communicate with people I would not otherwise have the opportunity to meet.
I am also interested in the relationship between digital and analogue photography and the impact this shift of image creation and distribution has upon our sense of history, archiving and memory as well as upon language.