This website shows excerpts a single project called ''Dog''. ''Dog'' is a collection of intentionally disparate looking photographic images and short texts on hand-cut Fujiflex paper, mounted into generic sketchbooks using photo corners. Images on this website are photographs of the pages in the sketchbooks.
The project is fairly complex and needs to be looked at from multiple vantage points, but it goes something like this:
In our everyday lives we expect the world to be as we see it. But really we are looking at symbols of things that have something to do with the physical reality behind them, but the symbols are not the physical world in itself. Our use of language is testament to how we live inside those symbols. So one of the basic words we use might be ''dog'' - we all know what ''dog'' implies from an early age, and it allows us to differentiate between dogs and cats for example, but really we know very little about what a dog in itself actually is. So while the word ''dog'' was brought about to massively generalise (and therefore remove huge swathes of potential information) about certain things , it also gives us enough working information so that we can navigate our world sufficiently, without becoming overwhelmed. But what happens before we call it ''dog''? How do we get to the stage of deciding that a certain set of attributes might be worthy of such a fundamental single syllable like that word? It's a strange and complex process that has something to do with pattern matching across multiple types of information ( for example abstract thoughts, previous experiences, dreams). There is some kind of spacial (and temporal) ''overlay'' of the world brought about by the fact of our consciousness, which allows us to then differentiate between things. The project called ''Dog'' is trying to look at the overlay in and of itself - taking apart the symbols of perception and somehow showing them in their own right. This is a somewhat impossible task, but I am at least able to offer an intuitive investigation into what I believe might be happening, by using (mostly altered) photographic images and texts as starting points.
From there, I am trying to produce a ''complete unified aesthetic'' which is a kind of complete description of how our symbolic overlays work. Ironically, the ''complete unified aesthetic'', in my view (and there is some hypotheses in physics that point towards this), may only exist as multiple incompatible images. In other words: for ''Dog'' as a project to work, there may well be visual themes running through a number of the images, but the responsibility of ''Dog'' lies more in the production and offering-up of these symbolic images, than declaring visual coherence between them.
Photographer based in London, UK.
Before I took up photography in 2012, I was a sculptor using ceramics (2003-12).
I won an Association Of Photographers award in 2014, and the John Kobal New Work Award at the Taylor Wessing Photographic Portrait Prize in 2016 (where I also got the People's Pick and I was then commissioned by The National Portrait Gallery to produce an image for their Permanent Collection).
I also shoot commercially. Clients (selected): Adidas; The British Museum; Canon; GQ magazine; Ordinary magazine; Wired magazine; Stuff magazine; Virgin; Nationwide; SKY TV; Compare The Market; The National Portrait Gallery. For commercial commissions, I am represented by advertising agent Mark George.
My photographic training is technical and commercial, having worked as a lighting assistant on high end advertising and editorial campaigns for about 30 different photographers.
Models used in some of the images: Lily Wang; Carla Tofano; Harry Alexander; Emma Mills; Alice Panda; Joanna Bird; Jordan James Bridge; Connor Williams; Rebecca Gilhooley; James Barnes; Sanna Kelly.
Two of the images are in collaboration with artist Alex Dipple (with funding from a-n magazine), and ''the dogs are in charge'' is the text/handwriting of friend Chris Bryant.