ABSTRACT
Everything I’ve ever made has been an assemblage of parts. In my sketchbooks as I grew up I would stick down a few photographs on the page and imagine the space in between. As a student of sculpture my structures were laboriously crafted, with many pieces waxing and waning to create the whole. My first serious photograph as an MA student at the Royal College of Art was a 2.5 × 2m blow-up of my palm, scaled up in sections, with the veins traced around to echo the road maps of my past and presented as a giant free-standing jigsaw puzzle. Soon after graduating I discovered a way of constructing images out of observed fragments, which totally made sense as a way to interpret the world around me. At the time I had no idea that I was dipping into the realm of the capriccio.
