© Julia Cameron 2018. All Rights Reserved.
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. The camera captures and records visual information that is edited, processed and assimilated to express my personal reflections and contemplations on my experiences and feelings.
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 desecration of landscape by industry. It is based on an area of Great Yarmouth on the East Coast of England where I can often be found experiencing and capturing the light, colours, textures and the weather that often blows in from the North Sea. It is known as and literally is "The Edge", 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. It is an abandoned and neglected stretch of land with its own wild character.
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, yet tainted by the ugliness of industrial fencing and unsympathetic buildings.
My prize-winning set of "On the Edge" images have been described as "quiet, elegiac landscape photographs" and I will settle for that.