An on-going street photography project that looks to capture the aesthetics of the urban environment and the modern world without any agenda or preconceptions.
Often abstract and multi-layered but always in colour, this project draws on the work of Saul Leiter, Ernest Haas, William Eggleston, Harry Gruyaert and Fred Herzog for inspiration.
It's not what you photograph, it's how you photograph it; and a touch of confusion is a desirable ingredient.
A photographic study of a hoarder's house that tries to find the humanity that might remain amongst the detritus of compulsive materialism. Consciously shot in colour for immediacy and to force the viewer to confront the detail, reality and chaos of this compulsive disorder.
A photo-documentary project exploring traditional British "greasy spoon".
As a six, seven and eight year-old I spent many summer lunchtimes in transport cafés scattered around the Midlands. My father was a lorry driver and I often went with him on his rounds, as he distributed raw steel and mysterious metal components to pounding, clanging factories. Not too many years from then, those factories would sputter and fall silent to be -reinvented as supermarkets and housing estates.
The cafés themselves were greasy formica-coated worlds of giant swarthy men in stained blue cotton overalls, chain-smoking fags and lounging in rough-textured hard plastic seats; seats as red and incongruous to a beige 1970s world as the red plastic tomato-shaped sauce bottles on every table.
Thirty-five years later I discovered the Leasowe Café, between New Brighton and Leasowe Lighthouse. It was like stepping back in time – the tables, the chairs, the soggy chips washed down with glow-in-the-dark Vimto and, of course, the superbly surly staff. All this was presented with the proudly displayed but underwhelming hygiene rating of “3”…. or “Mostly Satisfactory”. I was amazed that such places still existed and apparently thrived in the midst of the slick cosmopolitan world of Starbuck and Costa. The traditional café seemed to be a rich repository of interesting characters for staff and customers, quirky buildings, down-to-earth food and sheer atmosphere.
I did indeed find all of these things. But in Café Mostly Satisfactory I also found a culture just about clinging on to the edge of the economic cliff by its rather greasy fingernails; a literal hand to mouth existence as living community time capsules whilst the wider world rushes by in an apparently different plane of existence. My blue-collared dad would never understand why anyone would pay £3.50 for a frothy coffee in a paper cup but won’t pay £1.20 for a coffee in a proper cup served by someone who knows your name without asking it. But that is the modern world of Cafés, where Mostly Satisfactory service, environment and food is just not satisfactory any more.
An on-going project of purely black and white images, sometimes abstract but always concentrating on contrast, line, texture, form and shape. Where a figure is included in the composition the face is never clearly revealed, if indeed it is shown at all; the focus is on arms, legs and body shapes and context to create a sense of intrigue and mystery.