These projects culminate in a body of work that have collecting and hoarding in common.
In my studio, these works are the “Grand Scenarios” that consume several months of collecting and compiling and all have altering effect on my focus and out of studio activities.
I work on the still life images like stage sets – the objects, the actors and myself, the director. Objects are chosen for their evocative sense and may take on new understanding when linked by proximity to another. The objects are from nature and from those shelves where we stow the things that are not treasures but objects kept for their particular allure. The studio becomes laboratory and a forced alchemy is introduced to the scene. The role of artist here allows the ability to create an unearthly union. By drawing and painting the objects in real life (which are models in the photographs) I can create (and document) a slower time line with hand drawn observation while creating models as required.
I've come to photography after many years spent in printmaking and paint studios and have developed a working method that allows me to work in photographic layers while continueing to make observational drawing part of my practice.