Edgelands: The Edge of Elsewhere is a new zine by myself and fellow photographic artist Dawn Rodgers collaborating together under the partnership Limen.

Dawn and I met on the MA Photography course at Falmouth and discovered a shared interest in liminal spaces and human place within the landscape. Much of our work has shared touchpoints so we decided to collaborate on some work – the first result of which is our first zine together.

Edgelands: The Edge Of Elsewhere explores those space thar are neither here nor there – the spaces between places: the hard edges and the soft mergings where one place becomes another or somewhere betwixt. Inspired by the book Edgelands by Paul Farley and Michael Symmons Roberts, our edgelands are the places where modern life recedes, where the space becomes thin, where the wilderness starts to regain its natural hold.

The zine is now available to buy here. Hopefully the first of many!

Free mindful photography walks in Ryedale

There are two remaining dates for my mindful photography walks in Ryedale. Supported by North Yorkshire Council Small Arts Grant funding, the walks are free and suitable for anyone who has a camera-enabled smartphone, a DSLR or compact camera (film or digital cameras – all welcome). No photography experience is necessary!

The walks are a gentle introduction to mindful photography techniques while enjoying the Ryedale countryside.

Note the Rievaulx walk date has changed from Thursday 27th to Tuesday 25th June.

Contact me to book.

FRAGMENTS: Monuments & Traces exhibition

Images from my Fragments series are currently on show at Bias in Malton.

The Monoliths and Traces images are taken from the sculptural photobook Fragments which explores metamorphic and abstracted memories of the seascape. Fragments was produced as a limited edition handmade photographic sculptural book, presented as a sculptural map that unfolds to reveal and obscure fragmented imagery unrestricted by geographic boundaries or temporal chronology, that continuously shift as the viewer moves through it, much in the way that the seascape itself and time are in constant flux.

In the Monoliths, objects are collected from the shoreline and photographed in the studio: out of context and without frame of reference, the title implying size, scale and historical permanence that does not reflect the true nature of the original object, enabling the objects to take on totemic significance as memory placeholders. Taken with a large format analogue camera, the images are sustainably developed using homemade seaweed developer, not only minimising the chemical footprint of the development process but imbibing the final image with its original location.

With Traces 35mm negative film is ‘souped’ in seawater before developing with seaweed developer or objects and artefacts from the seascape are places directly onto undeveloped or rejected large format negatives, steeped in seawater, leaving their salty trace and that of the sea on the final image.

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