I use clay as a medium to photograph and document the world as I’m walking through it. The clay is heavy to carry, so like expensive film, I have to be selective in choosing the surfaces I press it against to make prints. I am peeking and poking into keyholes, vents, cracks and holes in sewer covers as I go along. I extrude the clay into the hidden spaces so it finds the unvisited interiors. This opens up small inner worlds that exist in the outer world.
I document what I find significant about a certain place at a certain moment. Overlooked details, beauty in the mundane and especially things under threat or about to disappear.
Like a camera, each print records the meta-data of its latitude and longitude. Like a diary, the prints meditate on the physical, sensual and emotional experience of the places I visit. The prints register texture rather than light. The inside becomes the outside.
There are two digital versions to be seen here.
1. Clay photography made on walks in Bedford-Stuyvesant, Brooklyn from 2015 to 2017.
“For every relative fragment of one thing is a full harmonious unit in itself” (John Muir)
This tile piece documents the changing landscape of Bedford-Stuyvesant over the last 24 months and represents over 2000km of walks in the streets around my home. It is part of a broader body of work that includes larger pieces cast from moulds that were made from similar prints of the Bedstuy streets.
2. Clay photography made on walks in Versailles, France during 2015 and 2016.
“For going out, I found, was really going in” (John Muir)
I walked the streets of Versailles continually. By day when the streets were full and in the middle of the night when I was the only person awake. I looked, I touched and felt, I poked about, I peeked into the recesses and I began to discover the city.