Artist notes

I have always had a preference for black and white photographs to ones in colour. The simple austerity of a black and white image — like Lee Miller’s photograph of Hitler’s bathroom, her portrait of Regina Lisso; or Dorothea Lange’s photograph of Florence Thompson, the migrant mother — seem, without the decorousness and distractions of colour, closer to a raw edged reality. There is, for me at least, an immediacy in the pared down, the sparse, the emptied out black and white image trimmed of all excess: an undaunted truth free from artifice. A truth made more visible because nothing else is offered. A haiku poem, an ensō circle.