11. 'Conformity in Clay'. A relatively new structure within the heart of Sheffield utilising standard clay bricks to enhance the external surface of the building, allowing for an image that portrays a feeling of conformity through the exaggerated form of interlocking man-made objects.
14 & 15 . Both of these images remain untitled but were taken paying close attention to composition and texture.
The images focus highly on abstraction, paying close attention to clean, sharp lines, form and texture. Both natural and man-made colours are represented, from neutral whites to bold blues, in a rainbow of vibrant hues.
1. 'Stairwell'. It was my intention to disrupt the way we see the world around us, changing the angle of our vision to create an image that would lead the viewer to question what it they are looking at, whilst studying the form and shapes within.
Lying on my back, on a cold concrete floor, I angled my camera upwards and carefully framed the spiralling stairwell that co-habits a shared space with a glass elevator at Park Hill Flats, Sheffield
2 & 3. A relatively new building which is part of the University of Sheffield. The gold honeycombed structure has a contemporary aesthetic and is reminiscent of a series of old CRT monitors. Its clean flowing lines and subtle colours allow for an interesting set of images to be produced.
4 & 5. 'NCP Sheffield' Angular steel, clean lines and texture merge into the façade of a simple car park within a city globally renowned for its steel heritage whilst conforming to a modern, contemporary aesthetic.
7 & 8. 'Waves of Steel'. More structures within Sheffield, focusing on a modern era whilst allowing its steel heritage to be displayed in an artistic form. Changing the angle of the camera has allowed for two separate images that can be exhibited/displayed as one.
9 & 10. Although these two images are very different at first glance, the composition allows one to gaze into an image that has the aesthetic of moving in infinity with no beginning and no end.
12. 'Park Hill'. Bold vibrant colours blend with the sharpness of the brutalist concrete architecture from the 1960's, breathing life back into an iconic historical structure that had once been tainted through criminal activity, and allowing it to relinquish its colloquial nickname 'Little Chicago'.
16. 'Untitled'. The main purpose of this image was to focus on clean geometric lines, form, colour and texture. While we humans have created the structure and chosen the colour, nature has briefly joined in to add light, colour and additional lines, allowing me to capture a unique image in an environment that is ever subtly changing yet primarily stays the same.
17. Bold colours on a concrete structure, no longer around but captured for eternity. This was part of a series of images created for a self-published micro book entitled 'Painted Surfaces'.
18 & 19. 'Aged Gloss on Rotting Wood', a continuation of my fascination with texture and colour.
20. Blue and white over brick, worn and showing signs of neglect, yet with the neglect comes a history which we shouldn't ignore nor try to conceal.
21 & 22. These two images are of man-made steel structures, painted for aesthetic purposes and to protect them from the elements during their life outdoors. Chips of paint, scrapes and other marks allow for the unique development of something that was at first untouched. The ingress of water, leading to oxidation, formed a multitude of neutral colours in various shades of browns and oranges and lead to the creation of something unique but still functional at the same time.
23. 'Lifeless Reaction to Man and Nature'. An over-painted piece of wood, once alive, now moulded to form an integeral part of a building. It was once loved and cared for yet has now been hastily painted over without care or thought ,with no attention to detail and no undercoat to stop the two bold colours from reacting with each other or the elements.
A striking contrast of blue and yellow, in an aged form, provides a vibrant image so alive with texture that one could almost touch it if it had not been an image on a screen.
25. 'Cross the Line'. An image that was inspired by Andreas Gursky. Vertical lines, clean and devoid of almost any distraction, denote a segregation of paths with authority, along with contrasting colours and a high level of texture.