4 July 2021

Penrhyn slate quarry seen from across the Carneddi in Bethesda

The quarrying of slate is synonymous with North Wales and slate is part of the landscape almost everywhere you go there. Slate from Snowdonia was shipped around the world for roofing and other uses. It is also intrinsically part of the story of several people I have photographed, particularly those in the Slate Valley of Vermont. Janet Bradley Milburn’s Great Uncle, who was also Janice Edwards’ grandfather, emigrated to America on a slate ship that left from the port of Y Felinheli. 

I knew I wanted an image of a slate quarry for this project, and at least one family in my project originally comes from Carneddi in Bethesda. The idea formed that perhaps I could get a view of the quarry from that location. I hiked up the steep lanes that lead up the hills of the Carneddi to look for a vantage point. It was a warm day, so I was soon sweating. 

As I hiked, I started to notice how the roofs of the houses mimicked the interlocking landscape of the mountains. Backtracking my steps, cris-crossing lanes I’d already walked, crouching or standing on gates and walls, I looked at the town and quarry from many different angles. I made quite a few images, but I like the balance of this one. The houses feel like part of the landscape; the people who live in them, part of the land.

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I have a small favour to ask. Working on independent, long-term projects is time-consuming and financially challenging, even more so in these difficult times. Many people have decided to pursue a funding model in which the content they produce is only seen or read by subscribers who donate or pay to do so. I have decided to go a different way. I would like to keep my work open for all. So, if you would like to support my work on this ongoing project, or other current and future projects, please consider making a donation, and, if you can, supporting me with a regular amount each month. As little as £1 can go a long way and it only takes a minute. Alternatively, there are other ways you can contribute outlined on the ‘support my work’ page. Buying a print is one such way, which provides you with something tangible in return for your investment. There is more information about my prints on this page. If you do not see the specific image you would like in my print shop, please contact me for information. Thank you.

Donate via PayPal HERE.

24 June 2021

Cover of the Many Voices, One Nation book

I recently travelled to Ffotogallery in Cardiff for the launch of the Many Voices, One Nation book. The book is a collection of the work that was produced for the two “Many Voices, One Nation” commissions. I’m delighted that images from my project “The Singing Hills” were included. It is great to see it in print. 

My work in the Many Voices, one Nation book

Thank you to Ffotogallery for putting the book together and thank you to the Senedd for the initial commission. There are projects from 19 other photographers and visual artists in the book, and it is well worth exploring their diverse and important work. They are: Abby Poulson, Antonia Osuji, Cynthia MaiWa Sitei, Ethan Beswick, Huw Alden Davies, Jack Osborne, James Hudson, Jo Haycock, John Manley, Jon Pountney, Kaz Alexander, Luce+Harry, Lucy Purrington, Matthew Eynon, Michal Iwanowski, Mohamed Hassan, Nik Roche, Rob Law and Zillah Bowes

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I have a small favour to ask. Working on independent, long-term projects is time-consuming and financially challenging, even more so in these difficult times. Many people have decided to pursue a funding model in which the content they produce is only seen or read by subscribers who donate or pay to do so. I have decided to go a different way. I would like to keep my work open for all. So, if you would like to support my work on this ongoing project, or other current and future projects, please consider making a donation, and, if you can, supporting me with a regular amount each month. As little as £1 can go a long way and it only takes a minute. Alternatively, there are other ways you can contribute outlined on the ‘support my work’ page. Buying a print is one such way, which provides you with something tangible in return for your investment. There is more information about my prints on this page. If you do not see the specific image you would like in my print shop, please contact me for information. Thank you.

Donate via PayPal HERE.

22 June 2021

Darkroom prints from ‘Pure Soil’ exhibited on the magnetic wall in my studio

“Very atmospheric.”

“This project has legs!” 

Thank you to everyone who stopped by my studio during Surrey Artists Open Studios (SAOS) this year. There was enthusiasm, energetic discussion and invaluable feedback.

When I applied for the Arts Council England, Develop Your Creative Practice funding in Round 9 earlier this year, I had marked down SAOS as a time to reflect and solicit feedback on my new work, in particular some new forms of work. Although I did not get the funding, I decided to press ahead with this plan. 

I showed darkroom prints, made at the Kiln Photo Workshops, from my project on local sustainable and regenerative farming, ‘Pure Soil’. Alongside these, I exhibited some new complementary forms of work utilising still life and alternative photographic methods. 

In the week prior to SAOS, I collected soil samples from Farnham Community Farm that I used in a soil chromatography workshop given by Hannah Fletcher and Land Art Agency. Since the farms I am photographing are very conscious of their soil’s health, I thought this would be an interesting way to complement the photographic images. The process and outcome mixes science and photography. 

Soil chromatograms made using soil samples from Farnham Community Farm

Chromatography is a way of separating the components of a mixture. It has many different uses, mostly scientific, and is often used to better understand the different components of a mixture. For my project, I extracted the organic matter from soil by dissolving it in sodium hydroxide, let it absorb onto a filter paper covered in silver nitrate, and left it out in sunlight to “develop”. Beautiful patterns emerged. I am still refining the technique and hope to get to a point where I can reproduce it reliably. Then I will use it on different soil samples from the various farms in my photography project. 

Keyhole limpet, micraster 1, micraster 2. Fossils found at Farnham Community Farm set in soil collected from the farm.

The still life prints I displayed were of fossils that one of the farmers at Farnham Community Farm, Cris Ricketts, has found while prepping and planting the vegetable beds. Cris is studying geology, so these fossils hold a particular scientific interest to him. To me, these fossils connect our present activity on the land to history, anchoring us to a tiny part of a continuum than spans millennia. 

Working on this project about sustainable farming has moved me to examine the sustainability of my photography practice and reduce its environmental impact. That is why I chose to print the fossil images using Hahnemühle’s Natural Line bamboo paper, which consists of 90% fast-growing, renewable bamboo fibre and 10% cotton. 

After three weeks of long days and weekends in the studio, deep in thought or engaged in discussions, I have renewed vigour and focus for this project. I’m happy where the project is going and it is clearly an important, topical subject. James Rebanks, a farmer and author from the Lake District, recently wrote an article on how British farming will be placed under enormous pressure to intensify again in the wake of the trade agreement between the UK and Australia, with further detriment to the UK’s ecosystems. 

I have a number of things to follow up and do now for my project, whilst continuing to make work. This includes contacting people to see about working with an academic partner (if you know anyone who might be suitable please let me know). As things progress, I’ll keep you updated. 

Take care. 

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I have a small favour to ask. Working on independent, long-term projects is time-consuming and financially challenging, even more so in these difficult times. Many people have decided to pursue a funding model in which the content they produce is only seen or read by subscribers who donate or pay to do so. I have decided to go a different way. I would like to keep my work open for all. So, if you would like to support my work on this ongoing project, or other current and future projects, please consider making a donation, and, if you can, supporting me with a regular amount each month. As little as £1 can go a long way and it only takes a minute. Alternatively, there are other ways you can contribute outlined on the ‘support my work’ page. Buying a print is one such way, which provides you with something tangible in return for your investment. There is more information about my prints on this page. If you do not see the specific image you would like in my print shop, please contact me for information. Thank you.

Donate via PayPal HERE.