Swiss still-life pho­tog­ra­pher, stud­ied at Royal College of Arts

Brief History of Still Life

vanitas Adriaen van Utrecht, Vanitas Still Life with Flowers and Skull, 1642. Oil on can­vas, 67 x 86 cm.

cezanne Paul Cezanne: Table, Napkin and Fruit (~1900)

Oil painting. Two vases, a liquor bottle, a large knife, a bird, a glass of brown liquid, fruit, and a fractal shape levitate above a table half-covered in a rough table-cloth. The sea is seen in the background. Salvador Dali: Living Still Life (1956)

ob­ject move around the space

penn Erving Penn: Frozen Foods (1977)

re­moves el­e­ments of re­al­ity (like table, table­cloth) from the still life fo­cusses on the nar­ra­tive frozen food, frozen to shape

ar­che­typl vi­sion of switzer­land wanted to rep­re­sent a for­est, sin­gle trees on white back­ground you can have a real ob­ject that does­n’t match the re­al­ity you are try­ing to show

usa bal­ti­more study, kids draw fish, some kids draw fish fin­gers for the kids that was more ac­cu­rate rep­re­sen­ta­tio than an ac­tual fish

com­mi­sion for a book dealer arts and crafts house in nor­folk im­ages for a cat­a­logue had to in­cor­po­rate weird ob­jects into cat­a­logue pho­tos, cre­ated nar­rac­tives cre­ated a sys­tem to tell the story he wanted to tell back­drop light tried to cre­ate a story to match the story of the books

linked his­toric im­ages of the place to con­tem­po­rary ones, uses back­drop to block off cer­tai parts

com­mi­sion for the royal col­lege of art 70 dif­fer­ent ob­jects for cat­a­logue how do you ceate an in­ter­est­ing sys­tem group work by tu­tor in­te­grated a print of the gallery space in rc into stu­dio setup

Comission for London Borough of Waltham Forest

Comission for Stockholm Culture House

Fashion mag­a­zine on­go­ing pro­ject in­ter­est­ing, strange way of show­ing brands in nre con­text chanel ten­nis ball cheap face creams are jeal­ous of fancy chanel cream finds weird shit on ebay

royal col­lege grad­u­a­tion pro­ject stud­ied pho­tog­ra­phy, did­n’t end up tak­ing any pho­tographs made foun­tains in­stead fairy liq­uid on choco­late foun­tains smell noise ab­solute rep­re­sen­ta­tion of the goal of a pho­to­graph: be­ing looked at


A lot of your pic­tures seem to re­quire very elab­o­rate phys­i­cal se­tups. (Having pieces of mar­ble cut to shape, com­plex light­ing se­tups). Surely, a lot of this could be achieved a lot cheaper dig­i­tally. Why do you choose to not do that?

a big part of the work is that it is real there is a re­turn to a re­al­ity of real ob­jects shot on film medium for­mat even if you dont see the ef­fort, the fact that is real makes it more im­pact­ful hu­man as­pect, en­gage with real peo­ple, go­ing around lon­don or whereever find­ing stuff if ou do it dig­i­tally you loose con­tact ob­vi­ous re­touch is in­ter­est­ing, show process

ob­vi­ous al­ter­ations in dig­i­tal are an in­ter­est­ing thing to look at

Could you talk a bit more about how you use light­ing to con­vey mean­ing in your pho­tographs

the light is one of the most im­por­tant tool to show an in­ten­tion, you have to have an in­ten­tion in your light­ing that tells a nar­ra­tive light­ing sur­rounds the oob­ject to make them ap­pear hy­per real

light­ing is dif­fi­cult when you’re not in the stu­dio huge setup, mul­ti­ple lights light up back­ground, fore­ground, dif­fer­ent lay­ers of light some of them have 7 dif­fer­ent light sources to cre­ate per­fect re­flec­tions, can get quite tech­ni­cal

when you are build­ing com­po­si­tions, do you fol­low cer­tain rules

com­po­si­tion, choice of ob­jects main prob­lem of the work sec­ondary ob­jects to sur­round the main sub­jects and cre­ate a nar­ra­tive theres not re­ally a sys­tem, but of­ten a sense of hu­mor things peo­ple can re­late to (pop cul­ture ref­er­ences)

Does the sym­bol­ism over­power the vi­sual in­tegrity

hope­full it doesnt. You of­ten see geo­met­ric shapes and stuff, hope­full the ac­tual mean­ing is­n’t sac­tri­ficed to cre­ate com­po­si­tion the pic­tures would say some­thing else when they looked dif­fer­ent, very pre­cise mes­sage