My work is based upon a fascination for the photographic representation of landscape - in particular, how photography can both refer to and attempt to question dominant conventions of the genre.

My practice to date looks at land and the self in relationship to each other. I am interested in the appropriation of land into landscape throughout the history of Art, notably Romanticism's notion of the Sublime in the work of painters such as Casper David Friedrich and J M W Turner and their use of land as a vocabulary to refer to concepts and states beyond itself.

In my work I seek to encourage the viewer towards more mythological and subjective readings of landscape through gestural inventions within both the land and the photographic process itself. Recent work, for example, has involved the fabrication of landscapes which suggest an approachability but quickly give way to the realisation of an impenetrable construct. In my current project, Shadows of the Object, overlapping exposures of woodland create a disturbed aesthetic that restricts the viewer from inhabiting the scene in the way conventions of the genre would typically dictate. The title refers to what Sarah Kember describes as the 'presence of the real.'

These landscapes, more than topographic depictions of place, become mythological, idealogical and psychological space against which the self might be conceptualized. Presence here is both absorbed and revealed, interconnected and isolated. The tensions created within the work and process express an uncertainty - in the face of competing ideologies, beliefs and environmental concerns - alongside seeking a means of engagement.