Cornwall, or Kernow as it is commonly referred to in the native language of Cornish, is an English county located in the southwest peninsula of the island of Great Britain. In April 2014, people who identified themselves as Cornish were granted minority status under the European Framework Convention for the Protection of National Minorities. Cornwall’s rich history and Celtic identity have long been cited amongst Cornish Nationalists as the backbone for greater autonomy within the United Kingdom, viewing themselves as a ‘home nation’ in their own right, similar to that of the Celtic nations of Scotland, Wales and Northern Ireland.
In the wake of the United Kingdom’s decision to leave the European Union, and with Scottish Independence and possibly even the reunification of Ireland both plausible outcomes by the year 2020, I set out to document the ‘vote leave’ county of Cornwall, and in particular the people who identified themselves as Cornish. As a supporter of the ‘remain’ camp, and resident of London (the only region of England to vote to remain in the landmark referendum) I felt the need to try and comprehend this monumental shift in the UK’s political landscape, by focusing in on a county where for many the desire for independence does not stop with the decision to leave the EU.
As the project progressed I noticed a distinct shift in the direction my initial idea was heading. It became apparent the images I was producing were almost entirely the product of my subconscious feelings of alienation and discomfort amongst my fellow Britons, gravitating to scenes that on some level conjured feelings of distaste, of discomfort, and most significantly, of a Britain I no longer felt a connection to. This subconscious animosity is in itself problematic, and evidently, a direct manifestation of the cultural divisions we face in the present-day Britain.
Upon reflection, this series of photographs does not claim to depict an accurate portrait of the Cornish, or even Cornwall. However, through my own subjunctive mediation, this work does achieve in documenting the polarising effect the UK’s decision to leave the EU has had on society, a decision which has statistically divided a once united and progressive nation.
Photographed – July 2016.
An Ode to Gaza
Tel Aviv, Israel, ‘the city that never stops’. A cosmopolitan, wealthy, somewhat Western metropolis, built along an endless coast of idyllic golden sand with a sunset so magical for thirty minuets a night you forget you are just 90km from Gaza, an open-air-prison like strip of land, subject to arguably the worst humanitarian crisis in the history of modern conflict.
Concentrating on the ancient and predominantly Arab neighbourhood of Jaffa, in southern Tel Aviv, this series through its use of visual metaphor, is my attempt at contextualising the loss of the most basic human and civil rights imposed upon the Gazan population, a direct consequence of the Israeli government and its ongoing military occupation of the Palestinian Territories.
Photographed over Ramadan - 2015.
This photo-essay forms my contribution to a collaborative project commissioned by Jocelyn Bain Hogg (VII Photo) and Project Sea Change, documenting Britain’s diverse youth population in the year 2016.
With the subject of recreation as my guide, I delved into the nuanced world of Cosplay, a niche subculture inspired by all things fantasy, that ultimately provides a place and the community, for one, to become another.
Parks & Recreation
Inspired by my Luna Park series, this project again attempts to document the processing of personal emotion, and the places in which we choose to free ourselves. This time however, the question is posed to the photographed subject, rather than oneself.
Photographed - 2015
Photographed over the Australian summer of 2013, this introspective series is the manifestation of using photography as a form of sanctuary during a dark period of my life.
Equipped with a 35mm Leica, and the city’s last 50 rolls of Ektachrome VS transparency film, I spent many an afternoon lost within Luna Park’s saturated, and dated surroundings, on the constant hunt for a sense of freedom, innocence, youth and happiness. All of which I could only borrow for a 250th of a second.