Skip to main content


Showing posts from March, 2016

wondering if

I'm wondering if I have the nerve to do a self-portrait dress-up shoot on location.

Closed factory 2; West and East walls

Closed factory; cylinder of black polythene, day 2

Closed factory; electrical cabling, day 2

Closed factory; interior 7

Closed factory; interior 6

Closed factory; interior 5

Closed factory; interior 4

Closed factory; tarp

Closed factory; interior 3

Closed factory; interior 2

Closed factory; stained floor 2

Closed factory; interior

Closed factory; stained floor

Closed factory 2; modular building

Closed factory; damaged corrugated wall panels

Closed factory; electrical cabling

Closed factory; electrical switch

Closed factory; cylinder of polythene

Closed factory; interior

Closed factory; makeshift wall from suspended corrugated metal panels

Easter Sunday, 2016, potassium

After the 'torso against skirting board' Good Friday shoot today I went to two closed down industrial sites. This one is going to be resurrected as, is often the case, housing (according to the guy who scaled the fence shortly after I'd gone in.) It was still windy from the storm which battered the town last night and there was a lot of booming and banging sounds as loose corrugated metal panels and one or two rooflights were blown back and forth. Outside clouds of dust and grit were being whipped up.There wasn't much of a smell inside but when I got home my clothes and skin smelled of potassium and ammonia.

Good Friday, 2016, black

Good Friday, 2016, blue

Carpenter, Karen


/, (2014)

Embankment, site B, 2014

Site B, 2014

For new build houses.

houses but mostly trees, 2014

houses (site A) obscured by trees, 2014

St Peter's

When I was looking for somewhere to live a couple of years ago this first floor former solicitor's office in the centre of town had an open day for viewings.

Red satin plunge dress

P H Emerson: Poling the Marsh Hay, 1886

I'm reading Emerson's book on photography theory and practice at the mo, written around 1888, I think. Suddenly his pictures have a surprising immediacy. Although he's the early spokesperson for straight photography he emphasises the importance of working with an impression of a scene, not being tied to facts. The photograph is a translation of a scene and tone was his key interest. So he says things like "some of the best work done has been produced from negatives made purposely thin, which have at the same time been true in tone, and full in breadth." (p. 156) His practice was to shoot two plates, developing on location, repeatedly dunking the film in developer and using different sized brushes to work the tonal development locally. The first negative would then be scrutinised before processing the second based on what was revealed.

Met link


mirror and painting


Mr A., 2012

previous address, c. 2013

that book thing, 2013-2015

that zen twig thing, 2014

return, c. 2013

houses through trees, 2014

site a, from 2014

site a houses, 2014

reheat, 2014

hiroshi sugimoto as a girl