I use both analogue and digital photography in a practice that seeks to embed cultural meaning in the image; I often do this by utilising a multimodal approach.

I am exploring ideas of ‘dialogism’ in a cultural investigation between perspectives of self and others, historical and contemporary production, and the interplay of materials, processes and actions. I believe this presents the opportunity to explore the photographs position relative to the process of producing contextually and socially relevant cultural meaning.

I categorise my output with a schema of semiotic genres; ‘index’ ‘icon’ and symbol’ for its emphasis on semantics or the signified / signifier, denotation / connotation relationship rather than what I perceive to be the more arbitrary general aesthetic or subject classifications of ‘landscape’ and ‘people’, for example.

An element of the aforementioned multi-modality is what I call my ‘Textual Interventions’ whereby I incorporate text as a ‘rebus caption’, a way of short circuiting the photographs multiplicity of interpretation and producing resonant anchored meaning.

This is a physical intervention with the surface of the photograph. It involves cutting, by hand, the text, into or pasting it onto the final printed image. This process denies the viewer unfettered access to the image and intervenes in the photographs illusory depth, in part by making the substrate or carrier become an object in its own right.

The process also questions the sometimes fetishised technical and aesthetic qualities of print production. By showing the creators hand in the cuts, the process refers to authorship and the photographs democratised position in image making.