PHOTOGRAPHER'S STATEMENT
Every image begins with an act of attention.
My photographic practice has grown from a lifelong curiosity
about the environments around me. I am drawn to what often escapes attention:
overlooked landscapes, roadside spaces, architectural traces, shadows,
reflections, textures, changing seasons, fragments of human presence, and the
quiet relationships between people and place.
Photography for me begins before the camera. A moment is
first noticed, felt or remembered; the camera then becomes a way of holding
that experience. I do not approach photography simply as documentation. I use
the image as a form of inquiry—to observe, collect, question and return to
moments that may otherwise disappear.
Walking and travelling are central to this process. For more
than two decades, movement through cities, villages, fields, wetlands, roads,
mountains and public spaces has allowed me to build an evolving photographic
archive of more than 300,000 images. I see this archive not as a collection of
finished photographs, but as a living record of observation. Returning to
familiar places often reveals something different as light, time, people,
seasons and memory change.
I am particularly interested in the relationship between the
visible and the overlooked. A shadow can become a document; an abandoned wall
can carry traces of lives; a small fragment can become a landscape through
scale. The camera selects a frame from a much larger environment, but the
photograph does not end there. Cropping, printing, enlargement, colour,
material and context can transform how an image is experienced.
For this reason, photography often becomes a starting point
rather than a destination. Photographic images may move into digital works,
painting, immersive experiences, mixed media, installation and other forms of
visual translation. These shifts allow me to reconsider the image beyond the
screen or conventional photographic frame.
My work moves between documentation and abstraction,
evidence and imagination, memory and discovery. An image may preserve a moment
from the past, yet years later it can generate a completely new reading.
Sometimes a photograph becomes a time machine, returning an earlier place to
the present; at other times, an old image creates an imagination that did not
exist when it was made.
I am interested in this space between seeing and noticing.
Seeing may be shared, but noticing is personal—an inner mathematics through
which each person selects, connects and gives meaning to the world.
Ultimately, photography is my way of remaining curious. I
photograph not because the world has already given me an answer, but because I
continue to wonder about what is already there.
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