My wall-based work over the last few years stands in an evolving dialog with painting and drawing through diverting the use of photographic materials away from producing a mechanical image and toward mark-making and gesture. (Lest we forget, photography is 'drawing with light'.) Previously, I've done this through direct interventions with paint and ink on silver gelatin prints. In my latest body of work, 'Thresholds', the approach is instead paired down; it foregrounds depicted and physical lines/edges and is purer in its treatment of photographic paper as material. The defining attribute of photographic paper is that it is a surface that registers light. I'm using this basic inherent quality to make large solid areas of exposure composed into multi-sheet pieces that deal with various thresholds underpinning my practice – of image and imagelessness; surface and support, line and shape; figure and background; part and whole. The toolkit is photographic, but, in keeping with the overarching dynamics of my work, drawing and minimalist painting are firmly brought into the frame.
[Materials: 15 silver gelatin prints on expired paper, acrylic, mounting tape, printing ink, polyurethane, aluminium. Mounted directly on the wall with no visible fixtures and with a slight floated off effect.]