The fragile nature of made objects is a constant reminder of our impermanence and that sometimes their beauty is a result of time and the acquisition of patina by neglect. I have used black and white imagery as I enjoy the long tonal range and the abstract qualities that can be conveyed. I began my photographic practice in the darkroom, admiring the magnificent silver gelatin photographs made by such luminaries as Brett Weston, Minor White and Ansel Adams, and indeed I feel I am as much a printmaker as a photographer. I have always valued having direct control from capture to print. Mastering traditional darkroom techniques and the required artistry is a commitment of time, energy and intelligence. Here I have made images of metal, wood, stone, plaster and water. Originally these images were all printed on fibre based silver gelatin paper, entailing long hours standing in the darkroom, but I have moved to a digital printing experience using the wonderful Museo archival cotton based papers and Epson printers. The results are rich, detailed in the highlights and shadows and with a beautiful surface.
The Japanese idea of the perfection of imperfection has always seemed a sound way to view our existence-nothing lasts, nothing is finished and nothing is perfect. Photographic artists such as Brett Weston, Michael Kenna, Kenro Izu, Grant Mudford and Bill Brandt have all been influential in the structuring of these images. They have been made across different countries and each required long periods of searching and waiting to find the right combination of light, structure, texture and form.