Fruits of the Forest 1993 - 1998

Since my first experiments in photography, as a Graphic Design student in 1986, I have been fascinated by the reaction of light and chemicals, on photographic paper. After I started to teach photography I soon noticed, and started to collect, discarded black and white photographic paper left in the darkroom. These were sometimes left for days, and would turn into beautiful images through the act of light, developer and fixer. I was captivated by their range of colours, some makes of paper had purples and yellows, others browns and oranges, some had greens and they all included black, greys and white. These found images were to be an inspiration to me as I started to make work using the same process. This led to my first constructed pieces using leaves in 1993, and exhibited in 1997 when I was convinced the image colour was stable and permanent.

Lament for the Silver Image - 1997

"There is a lot of talk about Digital imaging, Computers and Revolution and a fair amount of anxiety in some Photographic spheres. History, however, paints a different picture. Painting was supposed to die with photography's invention but it didn't. It was influenced by photography which was in turn influenced by painting. Photography is not dead, it has changed, and will continue to change.

This image was created using black & white silver technology from the mid-1800's, colour technology from the 1930's and digital technology from the present day.

Visual and conceptual influences are just as varied: Du Champ's Found Objects, Man Ray's Photograms, the photographic process of negative and positive, environmental concern over litter and chemical waste, to name just a few.

The camera and computer are only tools. Light-sensitive silver emulsion and photo-electric cells are only materials. Photographic paper and digital pixels are, like stone, a surface to draw onto. The Artist/Designer may use these and/or any other tools, materials and surfaces to make/create.

With the advent of new technology there is often a looking back to the past, a rebellion against that which is new, a comfort in the craft tradition of making things with your hands."

My work with these photograms/chemograms (or maybe there is another word to describe them) involves the use primarily of leaves, or other natural light transparent objects. The ‘Works' are then made in daylight, usually on 5x7” black & white paper, using standard processing chemicals. Some of these ‘works' can take many days to construct. The largest of these I have made is 35” x 60”.

Art Trek residency at Broomhill Sculpture Park

Over the two weekends of Art Trek 2009 I made a few single 5x7 inch unique prints from columbine, elder, ash and foxglove (there may have been other leaves etc and included 2x slugs that got in on the act by accident). This was the first time that I have used traditional photographic chemicals and paper for eight years and it was fascinating to see what was possible to create from wild flowers and plants in Broomhill's wonderful gardens. These I sold at £10 each once they were archivally fixed, washed and dried then mounted on foam board. I still have some of these left for sale for £15 with free p&p through Europe, it’ll cost a fraction more for the States. If you’d like one please visit my purchase page.

Click on the image (left) for a gallery of unique 5x7 inches daylight contact prints, using light, developer and fixer, made during Art Trek 2009 at Broomhill Sculpture Park in North Devon. All of the prints (unless indicated as sold) are for sale at £15 each with free post and packing in the UK and Europe (a small postage cost is necessary for the rest of the world). Each print is archivally fixed and washed then mounted securely onto foam board. The images are viewed at approx actual size if viewed at 72dpi.

Year of the Artist Residency 2000/01

This work was fully realised in an Arts Council England ‘Year of the Artist' residency in 2000/01, at the Heart of the National Forest visitors centre in Leicestershire.

"I wanted to let you experience a clearing in the forest. In a forest so large you could get lost in it, so far from civilisation that you could walk for half a day without coming across a road, so dense in parts that you can hear no sound with trees so high and full of leafy branches they obscure the sun and sky. A primeval place walled by mighty oaks and full of bracken, bluebells and foxgloves. I wanted you to share my memories of childhood and youth, of cycling, climbing trees, exploring and experiencing nature first hand; enjoying a freedom which is rarely experienced today. I don't remember the clogged up roads and the continuous noise of traffic at all times of the day. I don't remember being afraid."