Upcoming Exhibition

A series I have been working on over recent months will be exhibited at an upcoming solo show.

‘Since August’ is an ongoing compilation of autonomous photography captured over the past three years. It is a reflection of my emotive response to specific scenes, relationships & locales.

The exhibition is part of Art Around the Village and will take place in Walthamstow from 1-5PM over the weekend of the 23rd & 24th of June.

Full statement & location to follow soon.

Visa Pour L’image

Last week, having been selected to attend as part of Canon’s student programme, I spent a few days in Perpignan for the professional week of Visa Pour L’Image

It was a packed schedule of talks, screenings and portfolio reviews, but I managed to see some of the city while I was there - mostly while walking between events. Here’s a - hopefully - brief summary of my experience…

One of six lectures I attended was by Larry Towell. People say that you shouldn’t meet your idols, and mostly it turns out to be good advice. Not in this case. Towell spoke about his approach to creating work, his intentions, about using sound and video alongside photography, working - or not working - with editors, and about his perspective on the art market. It’s difficult to write about this experience and about someone who is so widely known without sounding like a salesperson, so I won’t go on. But he was truly humbling and enlightening. Of all Towell’s advice, what will stick with me most is “only shoot with purpose”. Oh, and (on funding) “marry a rich guy”…

Conversation has always been a key part of my creative process. After a conversation with a Canon representative, I returned to London with the beginnings of a new project (see ’Fact and Faith’.) This was influenced by Washington Post’s ‘Occupied: Year 50’. (1) (2)

Before leaving I visited the World Press Photo exhibition at Couvent des Minimes. I had already seen most of the work exhibited here in a screening two days earlier; some of it had also been exhibited in the 2017 Sony World Photography Awards at Somerset House. I’m always intrigued by the influence that the method of curation and display can have over the viewers’ experience, and was struck by the similarities (print size and quality) and differences (variation in framing, quality of light, ease of navigation, accuracy and approach to labeling) across the two exhibitions featuring the same images. This contrasted with the impact of the large back-lit screen at Campo Santo.

Visa Pour L’Image was an eye-opening introduction to professional photojournalism, and a great place to network with and listen to some incredible people. And of course, to see some equally impressive work.

Attached are images taken during my visit, including work from the World Press Photo exhibition. Other highlights not pictured are Robin Hammond’s portrait of Hellen Alfred ’Praying for a Miracle’, Michael Vince Kim’s ’Aenikkaeng’, and of course, Burhan Ozbilici’s ’Altintas shouts after shooting the [Russian] ambassador’.

Credit: Francesco Comello, ‘Isle of Salvation’, Hossein Fatemi ’An Iranian Journey’.

Fact and Faith

While in Perpignan for Visa Pour L’Image I began to develop ideas for a personal project.


This is something that I’ve thought about a lot, but still cannot form a coherent perspective on. In my experience photography can be a useful aid to this process. This is currently a blur of thoughts and ideas, so I’ll keep it brief.

Several things about my relationship with my great grandfather are peculiar to me. Although I didn’t spend much time with him before he died, he was a hugely influential part of my childhood and one of the most important people in my life. I consider myself a logical and pragmatic person. I am not a particularly ‘sensitive’. I am also fervently non-religious. My great grandfather was a Catholic. and yet as a direct result of my relationship with him I sentimentalise particular religious places, objects and practices that, outside of this context, have little or no significance to me or which I actively disagree with.

This has been a source of conflict between my personal experience of fact and faith. 

Why do I romanticise particular practices/objects/places? Why does someone who I knew for such a short time dominate so many of my childhood memories? How, as an emotionally detached person with a western education and a non-religious upbringing, can I make sense of my positive feelings towards my great grandfather and my attitude towards religion - which shifts between neutral and negative?

These questions will be explored through a pseudo-documentary/narrative photography project. I do not expect it to fall into any particular genre. It’s been a while since I worked on more than one project at a time, I’m interested to see how I re-adapt to that mindset. I plan to begin shooting when I travel to Israel in the next few days. 

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