There is a lovely delight in looking closely at the world, and an ordinary flat-bed scanner can be used as a macro-lens to create images that reveal the beautiful details in our everyday surroundings.
Enhanced by the narrow depth of field and strong tonal contrast produced by the slow-moving light-beam, these digital scanner-photographs often have a particularly dramatic character remniscent of early European still-life painting. When plastic toys and artificial objects are mixed in amongst natural flowers, leaves and stones on the scanner, I’ve found that the results are dreamlike and will often suggest a story to the viewer a narrative or fable, a reflection on how we live on the earth.
Being aware of the fragility of our eco-systems, I profoundly hope these images will help to increase appreciation of plants and their importance to the health of our biosphere.
After training in figurative painting, printmaking, and calligraphy at Guildford School of Art, my practice broadened into other areas, primarily ceramic, mosaic and environmental art. In the late 1990s I fell in love with the new medium of scanner-photography and it’s wonderful potential for artist-printmaking. Since then, in parallel with 3D work in the studio, I’ve continued to develop this medium, making studies of plants and flowers in their prime and in the process of decay, and also experimenting with the surreal implied narratives created by toys and other archetypal objects.
2006: large scale scanner-prints – a calendar of the seasons changing over 12 months for the Art Farm Project, exhibited in the old Milking Parlour of Middle Rocombe Farm, Devon.
2012: Cretan flora – scans made during a residency at the Botanic Museum and Garden of the Orthodox Academy of Crete, Kolympari, Chania, Crete.
2012: VANITAS Oct/Nov Birdwood Gallery, Totnes, with Verity Newman, ceramic sculpture- scans referring to the 17thC Vanitas paintings reminding the viewer of the transient nature of life.