World of Lies
Analogue Photography, Human figure, Analogue, 165x41cm
BROKEN STORIES
Putting pairs of images together I am focused on the momentary evolution of emotional or otherwise difficult encounters – turning points in the lives of the protagonists. These are the kind of small moments of fragility and danger, when things change seemingly beyond our control, revealing our vulnerability.
The work is concerned with storytelling as craft, and purposely distinct from the static single narrative image.
From shoots with actors on location, I select two images which between them, form what I call the ‘fiat’ (coming into being) of story; fragments of these fragile or difficult emotional events. The fiat is in a sense held in the physical and psychological gap between the images, and by resistance to a third image – start, middle, end; action, reaction, outcome etc. a simplistic conclusion of the narrative is prevented.
In making the work I start with quite controlled specific happenings/situations in mind – which control is then relinquished by virtue of working with the still camera. The core interest for me is always the exploration of story, and the emotional resonance of the individual and the combined images.
Putting pairs of images together I am focused on the momentary evolution of emotional or otherwise difficult encounters – turning points in the lives of the protagonists. These are the kind of small moments of fragility and danger, when things change seemingly beyond our control, revealing our vulnerability.
The work is concerned with storytelling as craft, and purposely distinct from the static single narrative image.
From shoots with actors on location, I select two images which between them, form what I call the ‘fiat’ (coming into being) of story; fragments of these fragile or difficult emotional events. The fiat is in a sense held in the physical and psychological gap between the images, and by resistance to a third image – start, middle, end; action, reaction, outcome etc. a simplistic conclusion of the narrative is prevented.
In making the work I start with quite controlled specific happenings/situations in mind – which control is then relinquished by virtue of working with the still camera. The core interest for me is always the exploration of story, and the emotional resonance of the individual and the combined images.
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