Attack of the 9ft Photographs

Overall I was satisfied with this piece as being successful. It encompassed the concepts and areas of interest that I had been investigating and also opened new avenues as well as ways of interpreting themes.


The subject matter of the image became secondary, objectifying the photograph, tying in with my thoughts on collecting and accumulation and the importance we place upon our objects. The main concept here was on the surface rather than what could be read into the subject matter, but had deeper roots based in the process and the longevity of the project. Despite the longevity not including a fully engaged active role from me throughout.


Looking into the supernatural belief system that surround personal belongings and objects, it was fitting that the subject matter of my images carried certain gothic iconography but this wasn’t necessarily a deliberate choice – more a fortunate coincidence.


Due to the nature of the work, I was bound by the wall in order to display it. This was befitting to the medium of photography. The size of the individual panels and use of map pins to hold them in place allowed the material to move, ripple and not lay flat, thus not stifling the properties synonymous to the photograph.


Photography is a successful tool and medium as I continue working because it behaves as both a stepping-stone for ideas and a quick way of recording and mediating experiences. It seemed enough that the photography as a mechanism is what tied it to the personal – it’s my experience without being too literal or narrowing to an audience.



Untitled, 2004-2019 – Installation View



The title of the pieces although technically untitled, the dates 2004-2019, create a sense of time and intrigue too. This was something that I realised when looking at some of Zoe Leonard’s photos during an artist talk with her at the Tate Modern. These dating systems create a collaborative element between my past self and present self… something I feel I want to explore more. Not having an obligation to create entirely new pieces of work but rather re-work older works to reestablish them in a contemporary context, affords me flexibility and time to experiment with ideas, making stronger contextual links and thematic within my practice, which will hopefully support my work.

Having said that, it may transpire that I look into how I do create the same ‘aura’ with entirely new works, which would be a challenge but may lack the authenticity, as I wouldn’t have the elements of past and present…



Moving forward I very much intend on developing upon the subjects raised through the making of it of this installation.

I am particularly drawn to the idea of re-materialising the photograph, taking the two-dimensional to the three-dimensional. My research and intrigue into accumulation gathered momentum through unearthing old images that had accumulated mold and damage, which created interesting aesthetics that I was able to manipulate and translate through scale. This broadened my opinion and interpretation of the concept of ‘accumulation’ and adopted representational qualities of time passing and dualities of past and present, old and new. I’d like to do a series of works in conjunction with memory and site-specificity, continuing to utilise photography as a mediator.



My large-scale images worked well alongside Matt’s installation and brought the subject matter of my prints to a more relevant foreground as they visually complimented the organic nature of Matts work.