Tide Marks
This series was created at Fistral Beach, Cornwall, using 35mm slide film.
The photographs were captured on transparency film and then cross processed - a technique that involves developing the film in chemicals intended for a different type, in this case, treating colour slide film as if it were colour negative film. This method produces vibrant, unpredictable color shifts.
After developing, I overpainted the photographs in my studio, using acrylic on photographic paper. The process merges two distinct mediums: the representational quality of photography with the abstract fluidity of painting.
By applying layers of paint - either corresponding or contrasting to the underlying image - the photographs are recontextualised. Areas of the original image are obscured, allowing the paint and photograph to interact as a single entity, rather than separate layers.
This blending of mediums creates a dynamic tension between representation and abstraction, where vibrant colours and textures reshape the original narrative. The result is a rich, complex surface that captures a sense of energy, mood, and drama, altering the viewer's perception of time and space within each piece. Through this interplay of paint and photograph, a new visual dialogue emerges, challenging traditional boundaries between photography and painting.
The photographs were captured on transparency film and then cross processed - a technique that involves developing the film in chemicals intended for a different type, in this case, treating colour slide film as if it were colour negative film. This method produces vibrant, unpredictable color shifts.
After developing, I overpainted the photographs in my studio, using acrylic on photographic paper. The process merges two distinct mediums: the representational quality of photography with the abstract fluidity of painting.
By applying layers of paint - either corresponding or contrasting to the underlying image - the photographs are recontextualised. Areas of the original image are obscured, allowing the paint and photograph to interact as a single entity, rather than separate layers.
This blending of mediums creates a dynamic tension between representation and abstraction, where vibrant colours and textures reshape the original narrative. The result is a rich, complex surface that captures a sense of energy, mood, and drama, altering the viewer's perception of time and space within each piece. Through this interplay of paint and photograph, a new visual dialogue emerges, challenging traditional boundaries between photography and painting.
