about The Work
This has always been less about 'art' than a kind of visual literacy, or something the Germans might call a Weltanschauung. The roots of my work borrow from science, philosophy, art and culture, connecting and interweaving them to offer 'other' perspectives on our seeing ways.
My interest lies mainly in connecting visual languages that tend to operate autonomously. Over these last years I've watched a tendency for us to define what we see in isolation, believing it to be more about our beliefs than the hidden influences shaping them. Uncovering these perceptions (which is a slow and persistent process) may sometimes delight or even disturb, but for me, this approach has always been met with a considered eye. We are all creatures of our own patterns and biases, and sometimes we forget that to pierce into them requires a spirit of poise and patience. It's the lifeblood of thought that fuels our cultural evolutions and the languages they produce. Everyday we use these expressions (or art) in a fantastic number of ways to make sense of the complexities around us. But to truly read them requires some ability to uncover the influences and motivations that drive them. This forms the backbone of creative thought, and it is also part of the three questions that are central to my practice — how does our language work, what does it do to help or hinder our cultures, and the question we seldom engage our senses with, why? Although the answers remain varied and complex, the point is to push beyond the immediate impressions that can recklessly define them. So when it comes to this world and our living patterns in it, do we have any option but to explore them through the wonder and folly 'of other'?
Assembling each of these degrees over the course of more than a year — over 15 years — has been a difficult labour of love, self-financed with thousands of hours of work and using casts and crews numbering in hundreds. Countless people (over 500) were commissioned along the way, while countless more images and attempts were discarded in its wake. In a landscape that has become immersed in image, my hope is to offer a deeper literacy into the roots and efforts that shape how we see. The goal is not to produce an ever-greater volume of work, but to consider the ongoing steps in them with a greater lucidity. In his epic Essays written centuries ago, Michel de Montaigne used a similar approach to contemplate deeply about 'how to live'. The mental maps and mirrors presented here simply wonder on 'how to see' ourselves within them.
I've been a photographer for many years and my practice began in my early 20's after failing to complete two different college programs. With little money, I worked in a hospital kitchen collecting food waste — or 'slop' as we called it — for pig farmers. It afforded me my first Mamiya RZ camera. That lead to jobs in discount printing houses, custom colour labs, volunteering in photo studios and eventually onto countless commercial sets as a technical artist to finance this visual machinery — it was never a cheap vocation. But through it, I've learned much about our cultural and commercial engines, and how they amble and pillage about in what the great author George Saunders defined as a "benign-looking thing." My own practice has lead me to explore Egungun funeral trances with West African Voodoo elders, the rise of modernity in Japanese Love Hotels, the heart of American gun culture in Kentucky, the routines of Peruvian livestock farming and slaughter, while at the same time, weaving them into the choreography of western advertising, fashion and media campaigns. This interlacing practice of seeing our common rituals rendered differently forms the roots of what Other explores.
Along the way, I've been commissioned internationally and have garnered some distinctions — among them, Lürzer’s Top 200 Photographers Worldwide, American Photography Awards, New York Art Directors Awards, London Art Director Awards, Applied Arts Magazine, International Polariod Awards, D&AD Awards, recognition as a Hasselblad Master, and part of the collection of the Musée de la Publicité, Le Louvre, France.