My latest work moves into a world of forms and fractals following on from my interest in science, and my work with holography. My holography was inspired by Alex Grey and the new scientific explorations of the half silvered mirror, thought to be the most significant conundrum of scientific thought today. While at University studying Photography I read ‘Stalking the wild pendulum’ by Itzhak Bentov, which intensified my intrigue in the bizarre nature of the hologram. If you smash a transition hologram, and you take one of the shards, the whole image can still be viewed. These influences led me to meet a holographer who I worked closely with for 3 years making holograms. My dissertation looked at how our perception of reality shifts according to the mediums we use to explore it. I was eager to see how holograms would change our experience and understanding of reality.

Although I loved working in the dark where the dust would sparkle in the laser beams that we split with half silvered mirrors, I came to realise that making holograms was not for me. Like the old masters of photography; Jerry Uelsman and Man Ray, I retreated to a dark room to paint with sparking lights and play the game of chance, which is so integral to my process. Light painting; a technique used to create surreal imagery without the use of photoshop, employs long exposures and various light sources, torches and fibre optics. Fabric is a useful tool I have used for many years, but the newest tool in my box is the mirror.