This series lies in between the realms of cinema and crime scenes where familiar objects are strategically placed in the mise en scene, Each image is fictional fragment with enigmatic details that are suspended, they are middles with no beginnings or endings, you must make of it what you can with the fragments that are revealed to the spectator. There is no explanation, but a sense of displacement. The viewer is never given an answer for what this meaning is. the known becomes the unknown.
This series started through my love of cinema, particularly films by Alfred Hitchcock. The idea of the telephone is partially inspired by Hitchcock’s film ‘Dial M for Murder’. I have always had a fascination with cinema and literature that deal with the uncanny. I always have ideas of scenes in my head after watching films or reading. I wanted to see what would happen if I began to project these imaginary scenes into my work. I set up each scene myself, this includes, picking the props and furniture and set. I then begin to set up the lighting, this includes ambient lighting and studio lights. Finally I get the camera ready. Creating these alternate realities creates endless possibilities where I can escape and create my own fiction. It is also important to use objects that are used in everyday life.
Could you tell us a little about yourself as a photographer?
Yes, I'm currently based in London, but previously studied painting at Belfast School of Art (Ulster University) and now completing my MA in photography at Westminster University. I tend to be very practice based rather than working in projects. I take my obsessions and passions and create the work from there. Never before have I been more inspired by cinema than I have at this moment of time. Directors such as Alfred Hitchcock, Douglas Sirk, Roberto Rossellini and Andrei Tarkovsky have opened up a floodgate of imagery for my practice. For me a body of work could last years. All my work is shot analogue. I mainly shoot medium format, but starting to shoot more in large format. As much as I love creating the sets and shooting, I spend equally the same amount time in the darkroom, processing my own film then on to printing.
Something takes over when you are in the darkroom, it becomes your safe place. It is these moments in the darkroom that I really love, there is something very comforting about walking into a darkroom and seeing your enlarger and smelling the chemicals.