The Underlying Tension Of A Lot Of

My Approach To Photograph Is Kept Simple, Almost Routine. All Work, Good And Bad, Is Documented. I Use Standard Film, A Standard Lens And No Filters. Each Work Grows, Strays, Decays-integral Parts Of A Cycle Which The Photograph Shows At Its Height, Marking The Moment When The Work Is Most Alive. There Is An Intensity About A Work At Its Peak That I Hope Is Expresses In The Image. Process And Decay Are Implicit.

I Can't Edit The Materials I Work With. My Remit Is To Work With Nature As A Whole. I Find Nature As A Whole Disturbing. Nature Can Be Harsh – Difficult And Brutal, As Well As Beautiful. You Couldn't Walk Five Minutes From Here Without Coming Across Something That Is Dead Or Decaying.

Movement, Change, Light, Growth And Decay Are The Lifeblood Of Nature, The Energies That I I Try To Tap Through My Work. I Need The Shock Of Touch, The Resistance Of Place, Materials And Weather, The Earth As My Source. Nature Is In A State Of Change And That Change Is The Key To Understanding. I Want My Art To Be Sensitive And Alert To Changes In Material, Season And Weather. Each Work Grows, Stays, Decays. Process And Decay Are Implicit. Transience In My Work Reflects What I Find In Nature.

Movement, Change, Light, Growth, And Decay Are The Life-blood Of Nature, The Energies That I Try To Tap Through My Work.

There's A Huge Number Of Things That Are Occurring With The Ice Works Which Fascinate Me Enormously, But It's Driven By This Kind Of Frantic Race Against Time. And Whilst That Creates A Huge Amount Of Tension And Problems, It's A Tension That I Think I Feed Off.