‘Invisible Conversations’ is an ongoing body of photographic portraiture that explores the diversity of experiences of dyslexia. The portraits offer a photographic record of the conversation that takes place between the sitter and the artist, during which the sitter is invited to “draw a picture of their dyslexic experience” onto a chalkboard. This drawing forms the backdrop and context for the portrait and provides the viewer with a glimpse into an otherwise invisible conversation.

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My intention with this work was to confront the viewer with images that explore and challenge peoples’ understanding of how we read landscape.

Place in Place is a development on my practice of creating still lives in the public domain, by placing objects into the type of spaces they reflect or portray, in this case landscape painting back into a landscape.

One of the first things that struck me about Clifton Park was its’ diversity, this is no doubt due to the variety of uses this land has had over the last 200 years or so. Despite this landscape’s use as a city park there is much which intimates its’ use as the extensive grounds of a Manor House including reproduction ruins and the Manor House itself. Though there this is now little left to suggest this was a landscape designed for hunting game.

I started by exploring and documenting the park with the intention of identifying sites that seemed to have a composition or focal point. These images I hoped would be parallel in theme or composition in paintings acquired for the project. The paintings themselves came from nearby charity shops.

Click here to view an interactive map of these installations.

After going reviewing images of my chosen places in Clifton Park I responded to them by listing the types of landscape painting they made me think of. Though the work started by using the visual similarities between the painting and the places I placed them in, it moved towards the more conceptual themes, which started to come out of the work. This approach is demonstrated in the later images, in which I place the paintings in a more confrontational fashion and for reason of subject rather and than composition.

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This series of photographs documents the final position of the 6 cardboard boats, which were launched into the river Humber and the river Hull one at a time, over  a 6 week period in Spring 2002.

The performance river river Dry Dock, which took place at various points throughout Hull’s city centre,  was intended to re-unite the city with the waterways that were once such a prominent feature. There was a lively audience, invited or otherwise, throughout the performances. A video was produced as documentation too.

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Scratched consists of 8 photographic landscapes mounted on ply wood shaped to the dimensions of a standard skateboard. The designs were inspired by the landscape painter William Turner and his ideas of compositional theory. The images draw on the idea that in the process of their performances, street skaters gradually leave behind traces of the drawings on the bottom of their boards, which creates new images in the landscape they inhabit.

This project sought out the unique and intimate urban spaces that street skaters used in the historic city of York to play out their contemporary art.

Miniature versions of the skateboards measuring approximately 28cm of length are available, as part of a limited collection, in packs of 5 within specially crafted paper envelopes.

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