Photographic Artist bringing the outdoors in

I’ve been a photographer for as long as I can remember.

When I was five I borrowed my dad’s camera and took a picture of pink lupins in the garden. A week later, the envelope arrived back from the chemists and I could hardly believe the magic; the flowers were alive on the print while those in the garden had died.

Years later, after art school I experimented with many camera techniques before becoming a photographic artist. I’ve travelled to 60 countries in pursuit of the perfect location, before returning to my studio in London.

My projects include: The creation of very large (from 2m. to 8m. wide) prints, drawing on nature’s poetic reclamation of dry stone walls, which when viewed close up offer a clarity of detail far beyond the normal gaze: A set of similar sized - but vertical - pictures, challenging the conventions of landscape imagery: The Camberwell Beauties project where I’ve photographed members of my local community in close-up: and a series inspired by observing the nuances of Japanese culture through the prism of the elegantly placed bicycles.

I've completed a long-term study of a single, isolated, metropolitan Wild Cherry Tree through the seasons, which led to another series where I photographed other solitary semi-urbanised trees, presented as 3m. wide prints; and a portfolio of of rusting relics of the American Dream called Forgotten Heroes.

In many of these photographs, I concentrate on only two dimensions, confining my vision to the width and height of the subject. Of course, taking pictures in a 3D world, I cannot completely eliminate depth, but many of my images portray a ‘flattened’ version of what I see.

In complete contrast, my work, Flower Power, explicitly explores the physical depth of the subjects by enlarging images of flowers - some narrower than a thumb in width - to over a metre wide. Their designs are so infinitely complex; it’s hard to imagine that that they’re not the creation of some otherworldly intelligence.

The same can be said of my latest series Epiphytes and Bryophytes where I’ve combined my knowledge of working in extreme close-up with my experience on the tree and wall projects. I’m continuing to explore, in detail (again on a large scale) the often-unseen magnificence of nature’s repossession, here I’m studying the exotic, fairy-tale landscapes of lichen and moss.

Reisz Gallery