Artist Statement

These images are from a group show that I took part in at Smith Studio in Cape Town 2015. They open a dialogue on the interpretations of 'current' on different levels; firstly the literal current of the sea, which I experienced while photographing and secondly, capturing the current moment as an ephemeral and haunting image that speaks more to a feeling than a detail of the present moment. There is something about being underwater that makes me feel both incredibly present, but also safe and tremendously separate from everything. I was drawn to a literal interpretation of the theme 'current' and felt compelled to immerse myself in the sea for these shots. The first images I managed to get were blurry and abstract and remained the most evocative to me. As time went on the images became cleaner but less interesting so I have ended up where I began with these ghost-like images that, to my mind, best convey the fleeting and transient moments that I experienced underwater. 

http://10and5.com/2014/10/22/featured-smith-gallery/

This series is called Lucky. It is about dogs and humans and how our lives and histories have always been inseparable. My aim was to photograph different types of dogs that are found in various socio-political circumstances in South Africa, which in turn reflect our society. Dr. Sandra Swart from the University of Stellenbosch writes: “Dogs provide a lens into understanding human society and culture in Southern Africa. Behind every dog breed we find an ethnography and a social history as well as a genealogy – its cultural, as well as it’s genetic heritage” (2003: 1).  What turned out to be the most striking about this process for me was not the insight into the “bigger picture” but rather the enjoyment I found in the individual connections between the owner and dog and the small details inherent in their relationships. Shooting in medium format meant not only was I more measured in my approach to dog and owner but also that I spent more time with each of them. “Beheading” the owners in the crop initially started unintentionally. The owners of the Pitbulls didn’t want their faces shown because of potential affiliation to illegal dog fighting. This crop informed the typology of the series and became a fascinating way of observing their relationships. The omission of the owner’s face invites the viewer to take a closer look and find the details we often miss. This is a body of work I completed for my final year at The Ruth Prowse School of Art consisting of a total of thirty-six images.