Tell us a bit about yourself
I’m an English photographer based in the midlands, working with traditional analogue processes. My work revolves around the preservation of an ever-changing Albion, as blue-collar bucolia is continually eradicated in the name of modernity. Time is of the essence and waits for no man. On occasion I cast the mirror away from the tangible and turn it inwards, making self-portraits inspired by cinema suffusing themes of duality and mysticism.
Tell us about one of your favourite projects and what inspired you to do it
I haven't really worked on many projects per se, although "In The Lines" springs to the fore. It started with a typeface, one that inherently invokes nostalgia for 1960s England; council buildings, parquet flooring and musty school textbooks. I was driving along and saw the light falling on the single lettered sign 'T E L E P H O N E E X C H A N G E' and I slammed on the brakes before realizing what kind of building it was. A month later, exactly the same situation unfolded 80-miles from the first. The light drew me in, and realization of the structure came second. Right then I realized that my subconscious was somehow compelled by these dilapidating, overlooked relics that continue to prop up our modern means of communication. And thus the project was born. It's still nowhere near finished though I have big plans for it and hope to release a book someday.
What are you working on at the moment?
I recently received Arts Council funding for my new project "Grail Overfloweth: an etheric study of the River Don", charting the river from source to mouth. I'm predominantly exploring its course with a focus on river goddess worship and religious sites along its banks. I've been having a spiritual awakening of sorts since starting the project, and have been overwhelmed by a flood of synchronistic overlaps. It's given me life during such a tumultuous time.
Who are your biggest influencers in the industry?
Diane Arbus, Tish Murtha, Julia Margaret Cameron, Rob Bremner. The early films of Terence Davies and František Vláčil.
What was the last thing that inspired you?
Discovering the music of Virginia Astley.
Tell us why it's important for you to have a photographer portfolio website
I felt it essential to make a website in the last year so that I finally have a landing pad which is all mine. I loathe feeling beholden to Facebook-owned platforms, the algorithm and crushing image compression.
As a professional creative what are your tips in building a photographer portfolio website?
If you are a visual arts creative such as myself, try and make your website as minimal and simplistic as possible. You want your work to sing for itself, rather than being drowned out by fussy details and text.
How do you market yourself?
I struggle with marketing myself at the best of times as I'm always out making work. It's something I'd like to get better at. Instagram has been a useful tool for networking and encountering artists to collaborate with, however, the platform is not what it once was. I'm grateful to be part of a local community through The Photo Parlour community darkroom in Nottingham and have been able to showcase my work and discover opportunities such as the Arts Council grant schemes through my connections there. If in doubt, act local and you'll be surprised at who and what you find.
Why do you use Portfoliobox?
I was recommended Portfoliobox by an American friend of mine and was pleased by how user-friendly the interface was. It is also significantly cheaper than the usual providers out there.