© Julia Cameron 2018. All Rights Reserved.  


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Artist Statement


I work with the medium of photography, viewing the world through lenses, both externally, in the "real" world and internally in my mind's eye.


There are two main strands to my current practice:


The first is based on photography itself, using old family photo albums. These provide a source of enquiry into ancestry and family history (Unfortunately, I cannot claim to be related to the pioneering photographer Julia Margaret Cameron, except by name). It may be possible to see some of one's own features in ancestral faces. The albums are a repository of both snaps and studio portraits that freeze a moment or few moments in time. The person portrayed may have been captured in an unconsidered shot by a family member or posed to reflect status, relationships and lifestyles by a professional photographer.


I have taken the concept of being "frozen in time" one step further, by actually freezing the images in water - perhaps a form of photographic cryogenics? These iced photographs are then partially thawed and photographed again, reviving and breathing new life into them as well as transporting them to a new, contemporary setting amongst the living. The overlay of ice can be very beautiful, subtly masking areas and creating emphasis on some features as well as adding a new dimension to the previously conventional images.


The second strand is also a long-term project. It is a contemplation and reflection on the landscape around Great Yarmouth on the East Coast of England where I can often be found experiencing and capturing the misty, murky light, colours, textures and the weather that often blows in from the North Sea.


One area known as "The Edge", is a piece of land between the Pleasure Beach and the Outer Harbour, being bounded by sea on one side and an industrial estate on the other. Until recently it was an abandoned and neglected stretch of land with its own wild character. Sadly for me, since early 2018 it has become the site of a major commercial development.


My attention has also been given to marginal land, in particular the landward side of Great Yarmouth to Halvergate Marshes and Reedham and to the desolate area of Breydon Water. My preference is to photograph there on misty days when the effect of the light gives a spareness to the images and reduces the colours of the landscape by overlaying them with grey. It is beautiful, particularly in winter with its grey skies and drizzle. When the Easterly wind blows it is also bone chillingly cold and requires a particular dedication to my art.


My prize-winning set of  "On the Edge" images have been described as "quiet, elegiac landscape photographs" and I will settle for that.