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>You said it used to be spent 90 per cent out making work, 10 per cent in the studio. Has that changed now that your practice has shifted a bit? I think of projects like Coexistence and Talking to Ants; I guess they are more studio-based projects compared to your work before.
That’s a really good point. I think that Hackney Flowers was probably a balance between the two because I was on my bicycle making pictures, sourcing pictures, but the great thing about that is that even in the studio, it was lots of this manual intervention and digital processes, so it was still working with my hands and I’ve tried to latch onto that with quite a tight grip. Even with Coexistence it was knitting together work that I was doing outside with different types of cameras and taking water samples with buckets of water, but it was a strange multi-layered series. Much of it, what I call ‘base pictures’ that were C-types, were almost starting points, and then I would rephotograph those a second time with some little manual interventions or the pond water itself; I would take back those very pieces of paper and reimmerse them and rephotograph them, so some of those pictures were sort of three or four generations in. So you’re right, I was kind of dancing between the studio and the geographical parameters of the subject.
"Bad - Michael Jackson"
