In 2008 I was granted special airside access to some of the most interesting airports in Europe. Those I chose to photograph had a key role in history (the Azores, for example, was a compulsory stop for transatlantic flights prior to 1970 and a military base in both World Wars). Immured in temporality and suffering from a sense of historical discontinuity, the airport is the elementary expression of abstract space. It renders everyone weightless. It is the space of the uprooted.

This series was conceived and developed over a period of 8 years but only  presented, for the first time, in 2008, in the context of the BESPhoto 2008 prize, alongside the series When Light Casts no Shadow.
These are images that apparently depict precise geometrical and rectilinear structures but which at closer inspection reveal a myriad of inconsistencies.
In this series I was interested in developing a visual vocabulary that resulted from the failure/corruption of the photographic process.

More akin to the sort of imagery that one would find in a space exploration publication, Dwarf Exoplanets & Other Sophisms seeks to create a play of references drawn between reality and its image. Creating new ways of thinking about the uncertainty of the referent is a means to capture what is missing, the thing that separates photography from reality. These are photographs that apparently represent planets, but after looking at them closely we realise that we are faced with an illusory experience.

Shot largely on the same set of beaches in Portugal over a period of two years, the imagery of The Accidental Theorist is a series of instants that have become independent of reason or purpose. All that typifies the holiday beach experience is missing. The beach is rendered as little more than a proscenium awaiting some event.