Asia,Through the Viewfinder

I was brought up in Widnes,a small industrial town near Liverpool,UK. I spent a lot of time wandering around the town. It seems that my experiences as a child would later become photographic subject matter. Empty stadiums,old mills and seafront buildings that have been built for our activities,when they are not being actively used,can be strangely surrealistic and I am fascinated by them. I try to photograph the invisible behind the visible.

How did art school help in evolving your vocabulary?

When I went to art school,I thought I would be a painter. The painting aesthetic comes through because I prefer the power of suggestion over description. Photography,for me,is not about copying the world. I’m not interested in making an accurate copy of what I see. I think one of photography’s strongest elements is its ability to record a part of the world,but also to integrate with the photographer’s aesthetic sense.

You have an interesting relationship with light in most of your work. Why is that?

I’m always chasing the light but I’m not convinced there is a ‘best’ or ‘right’ light. I’ve often waited for amazing sunsets,to find the sun disappear behind clouds and the expected drama doesn’t happen. Often it is raining at sunrise,but these are all parts of the wonderful,unpredictable process of being out in the world. I try to provide something of an oasis,a place of rest,perhaps to meditate for a while.

What do you wish to convey when you encounter a new place?

Sometimes,I go to a place or a particular subject and photograph there. I suppose that when photographers meet their subject,a conversation,begins. Inevitably,you retain some of your own character and your own vision,but equally inevitably you take on some of the character of what you are photographing. I approach subject matter as I would a person — with respect. A degree of curiosity also goes a long way.

How have you chosen the places in this project?

I tried everything I could think of,but one naturally resonates with certain areas. The prevailing theme in my work has something to do with memory,time,change and atmospheres that seem to reside in these places. I apply myself to many different subjects using that same theme — there are so many countries that interest me photographically. As the first part of my career,my energy was towards Europe. In the second half,it is towards Asia.

With reference to your current work,which places did you particularly enjoy capturing?

I’ve spent a lot of time in Japan. It’s difficult not to be influenced by their sense of serenity,tranquility,purity and simplicity of design. This,again,harkens back to the essence of haiku,which comprises just a few elements. Now,I am spending a lot of time in China,India and Korea. They do say ‘the world is your oyster’ and I am still delightfully exploring.

Do you like to revisit places for your projects?

I like to revisit locations but with all the time in the world. My imagery is about the mood before,after and between events. It is also about sheer beauty. When I see a beautiful tree I want to take a photograph. When I stumble on something that emotionally touches me,whether I know why or not,I want to make a photograph.