I started working as a photographer professionally in 1984 with an odd mix of photographing bands for the New Musical Express, jazz musicians for The Wire Magazine and ancient buildings for English Heritage(!). I gravitated towards more studio based work during the 80s and had work accepted into the National Portrait Gallery collection - most notably a mixed media collage of the composer, Gavin Bryars, consisting of floated polaroid, collaged map, elastic bands and rusty nails.
I sold my soul to the photo libraries during the glory years. This was a lucrative business back then and gave me the freedom to work with musicians and dancers without having to worry too much about limited budgets. However, although I really appreciate the talent required to make a truly memorable stock image, I began to feel the creativity ebb away and the industry itself was becoming unsustainable as a business model for the producers. The move to Norfolk a few years ago and signing up to Instagram a year or so back have helped me reintroduce the notion of play: making images for the sheer pleasure of it and seeing where they lead. Some of the fruits of these endeavours are seen here. This particular body of work, The Bacton Seal, is a collaboration between me and my artificially intelligent alter ego, Andy Inkblot.