I'm an Art Director with a multidisciplinary approach to image making; bridging fine art practices with fashion communication. I channel my interest in contemporary art through a variety of mediums, curating design with specific consideration for location and platform spanning print OOH and digital content.
I explore themes of sociology and conceptually approach theories that commonly sit outside of the realm of art; ranging from physical laws, mathematics or human behaviour. Throughout my work I find a crucial aspect that contributes to my creative outcomes is the process; using in camera techniques of manipulation to create abstract imagery . Whether this be moving image, photography or exhibition design, I curate my content to encourage the viewer to actively and physically interact with my work.
In the initial idea generation stage of any project, I gravitate towards text-based research. I find approaching an idea in this way stops me from imagining a visual output, instead I focus on the conceptual depth. This then translates into photography rooted in curiosity and play, in camera and lighting methods of manipulation and digital collage experimenting with proportion and scale. I like working this way as it encourages me to be ambitious in what I can create.
My most recent project is titled Flux. In physics, Flux can be defined as the movement of any substance through an area per unit of time. It can also be used to describe something that is constantly changing. Through the creation of a 70 page publication my project makes a case for embracing uncertainty in art through exploring our human reaction and relationship with change; responding through abstract photography and interview with selected featuring artists, athletes and musicians.
Responding to developments in experiential design and its influence on fashion runway and retail design, this short piece of moving image is part of a wider project studying the movement of people through a public and curated space. Researching into biometrics and the biological systems of recognition led me to produce a series of photography isolating movement. Using a Zoetrope, one of the first forms of animation production, I placed my imagery inside the cylindrical object and when spun created the illusion of motion. Redesigning and editing the series of photography into this format encourages viewers to investigate and interact with the physical object. I’ve found that introducing this tactility within my practice makes for memorable and impactful work.