My work seen here is made through multiple exposures within the camera, aimed not at capturing an exact representation of my surroundings but at observing an atmosphere or emotional presence within a space. In the1920’s and early 1930’s avant-garde photographers made use of photomontage, tilted camera angles and in-camera manipulation to make their viewers question the reality of their images. I have made use of these qualities not to create doubt in reality, but as a means of capturing what is truly real.

Initially I began by creating these panoramic multiple exposures. There is no pre-visualization used, as to focus on what is around me, and allow each environment to reflect itself on the film and to allow myself to be immersed in and affected by my surrounding. All of my life I have been interested in the environment, nature, science and the outdoors. Over the past few years as this interest has become heightened, and as our general knowledge about the future of our environment has increased my work has begun to reflect more of an ecological point of view.

Ancient Chinese landscape painters created and communicated an interest in the harmony of man and nature. They referred to the idea that ‘a poem is a picture without form, a picture a poem in form’. I like to think of these panoramas as a form of visual poetry, communicating, like early Chinese paintings, a natural balance within an ecological system.