Family Album stems from an interest in the hidden narratives held within photographic images. My main focus on the hidden arose out of an interest in looking at the contradiction concealed behind truths, that is; what is the sacrifice when pursuing an image of the ideal. The photograph represents a truth of sorts and that is prime for disruption. For this collection of work I have combined my current landscape photography and portraiture work with old images from my family, and then added paint on top of the portraits.
The hidden fascinates me; I look for corners and pockets of nature that are overlooked, and usually overgrown. Corners that don’t conform to the sublime, and these places satisfy my need for things to be out of control, to have a sense of escaping the order that is required in society. Then the portraits are inserted in, or put next too, images of landscapes, to place the individual into a relationship within an uncontrolled environment, to start to upset the need for clear ideals. Lastly, the spectators relationship to photographs is disrupted further as the subject is rendered more apparently incomplete through the application of paint, wrestling with the ideal and the formless within the same image. The portrait photograph provides the form, the certainty, whilst the paint becomes the formless, the response to the ideal; the negotiation with nature.