This website documents my work from 1994 to the present. In 1994 I started using the photogravure process to create my images. At this point, I felt I had found a synthesis of imagery, content and process. Since that time, my work has evolved to include book works and photographic prints.

From 1985-99, my conceptual focus was the observation and interpretation of the private domestic arena. My home and immediate environs were the sources for photographic explorations which were then translated into prints and book works. These works demonstrate a formal/phenomenological attraction to the quotidian.

In 2000 I expanded my imagery source to include a broader range of architectural types and the connotations created by other peoples’ homes, ruins, defunct industrial spaces, monuments and museums. This resulted in the print suites Cloister and Strange Chambers, the book work pink story: sinistral/dextral and the photographic installation The Niche Project. I approach the architectural spaces as a visual theatre. Objects and spaces function as props and stage. In the Townsite House project, I returned to the observation and interpretation of the private domestic arena. Throughout these bodies of work I aim to create images that encapsulate the sensory and temporal paradoxes we experience in our surroundings. I am also motivated by observations of the bizarre or incongruous in the mundane and my desire to build an archive of these ephemeral experiences.

My chosen media plays a large role both in the way it translates the subject matter and in the effect of the presentation. Since 1994, I have been working with photogravure. The interaction of ink and paper have a tactile and physical presence while simultaneously evoking a state of photographic memory. In 1997, I introduced the book format and the use of text, and letterpress printing, into my practice. These texts and images explore issues along parallel paths, independently addressing similar content so as to generate associations rather than provide explanations. The binding and structure of the book works use the traditional book form as the basis but then subvert the conventions so that the physical and temporal experience of reading the book relates to the content. In 2005 I began to produce bodies of fiber based silver gelatine photographic prints. In 2007 I began working on a research project that investigates the potential of digital applications in the production of four-colour photogravure. This has expanded my range to tools to include digital processes and printing.

The work produced in conjunction with the sillis project maintains the dynamic of perceived opposing forces but the arena has shifted focus to the mechanical workings of historical and contemporary image-making methods. This has resulted in print variations such as Stacked Lenses and Rosita and the experimental book works Quadrifid and In Camera: Lens.