Cut and Paste, 1992- 1997
How and why I make images is now more conscious, but the origins of my
methodology are in this original set of sketchbooks, dating from my first year at Goldsmiths 1991.
The subject matter
covers my life in London, my relationships and friendships, the
interface between reality and dreams. The city, the sky, water and glass
are perennial themes used for their potential as metaphors for
Industrialisation, urban living, interior worlds and sexuality.
From the earliest point in my creative process I used collage as a means to divine my own consciousness. Beginning with an interest in the Surrealists, I used collage as a means to understand better why I was using the camera to look. This question, and my concern over the proliferation of images, which at the time was in the establishment of image libraries, has always been a primary concern. I was certain that if I was to create new images in a world already saturated with images, that these would need to be conscious, considered and purposeful. Collage was my method of refining, processing and understanding my own need to photograph.
Having used the camera for a few years, I began to amass a library of images, from which I would create random associations through the use of scissors and glue. This process of generating masses of images, from which I select a few for distillation forms the basis of my current practice is still my working method, although now the subject matter is more deliberately chosen beforehand.
The process of bringing together images in order to create a new reality
is something that has remained constant in my work as the basis for my
research and development of new ideas. In 1994 I discovered Adobe
Photoshop and was delighted to be able to move this process over into
the expanded field of tools that the software offered.