I am a design consultant and professional photographer. I am an accredited Associate with the British Institute of Professional Photography. Based in Liverpool I run my own small business called Indigenous, which works with international companies, start-ups and community groups on art projects and commercial design consultancy. My time is split between home and Asia, which has a significant influence on my style and subject matter. While I provide photography services such as for archiving artwork, I reinvest my time and resources from commissions and assignments into a self-sustaining model of research and development. My resulting projects are a representation of my professional approach to both design and photography which are used in my business identity and showcased in exhibitions.
I would break down my artistic influences into three main periods; 1. Bauhaus, De Stijl movements (László Moholy-Nagy, Gyorgy Kepes), 2. Experiential art (Richard Serra, James Turrell) and 3. Contemporary Korean photography (Lee Jungjin, Min Byunghun). I suggest that my areas of interest are both modernist and minimalist in nature. This being supported by my background in design. However during my Level 2 studies I came to understand my approach is much more postmodern, in that I have an engagement that seeks to place the traditional Asian aesthetic with contemporary, and indeed, western visual strategies together in a modern-day context.
My Level 2 studies provided me with a forum to develop my research skills and become more critical in how I viewed work I liked/disliked. Furthermore it gave me the opportunity to consider how to reflect on my practice. It did not change however the area of art/photography that I most respond to. I want to further explore this mix of meditative and structural ideas in my Body of Work to develop a less formalised and more intuitive approach to space distribution in composition. Perhaps on a different scale. While in my Contextual Studies I want to research further if/how Korean photography was influenced by abstraction.
I value the role museums and galleries can play in the curating and presentation of photography. However I disagree with the idea that a photographer primarily view a gallery as destination, with the goal to fill a large white cube with oversized prints that are displaced from reality or context. I see this as a potential starting point for the module Sustaining your Practice. I find artists such as Robert Montgomery interesting. Who uses his own craft with the written word with the ability to self publish newspapers and manipulate the use of billboards to place a new context on the public space, at a time when advertising and the digital screen are the dominant platforms. Posing an interesting question to me. Can a similar approach work as an advertising tool as a professional practitioner? This ultimately is the challenge I see, as a contemporary photographer, to develop a conscious balance of commercial activity for income with a self-actualising approach to continual development, collaboration and interaction.