Throughout the arid Almería countryside, patches of nightmarish red-painted forest such as this are common. The water and retardant poured from the air to halt a blaze contained this vivid, blood-red pigment.  The region is bone-dry, and pine trees abundant: non-indigenous and mostly planted by man for hunting. Their roots absorb the scant subterranean moisture that should be going to crops, invading terrace systems and ruining age-old watering channels. Though, precipitation here is at an all-time low and so most of these channels no longer function anyway.  Almería contains the closest thing to a full desert Europe has – it’s described officially as a semi-desert – and the rest of the region is becoming increasingly susceptible to the same fate. Drive around the region, between towns and villages and you’ll pass hundreds of abandoned houses: from simple dwellings to farmhouses with acres of land, they’re each now left to the elements. There’s nothing here to keep families on the land: wells and reservoirs have gone dry and episodes of drought have become ever more frequent since the middle of last century, rendering the land unworkable, uninhabitable, unsellable  We spoke to locals – elderly residents of rural villages – and were told of the wet springs of their childhoods, of snow in winter, of green (Pine free) hillsides. In half a century, life in this region has changed dramatically. Almería currently endures over 80% of the year without rain, or chance of rain (that’s in a non-drought year).
 Photographs of artist Joseph Calleja’s workshop in Qala, Gozo. These images form part of an ongoing exchange between Joseph and I, they also serve as a record of Joseph’s renovation of the quasi-derelict building he inherited.
 Research photographs taken during my time working on  Pelàda : a project focussed on Venice’s rising lagoon.
 These analogue 35mm stills mostly document my material-gathering trips and ever-changing studio, punctuated by snapshots of sea. Captured with vintage cameras & lenses (and often my father’s 1984 Canon AV1) these unedited images are an important aspect of my practice. Over exposed, or taken with expired film, these images document small moments, that – when taken together – describe not only how I work and where my ideas come from, but also the flea-markets and antique fairs from where I source my  surfaces.
 Fos:  Greek   Light.  This ongoing series features images of the Cyclades, Athens and the interior Greek countryside, exclusively in intense light. Taken in winter, summer and autumn each is lit by the earliest and last rays of sun, or when a haze swarms.
 This set features photographs taken whilst travelling through France, Switzerland and Italy: material gathering for Alpine painting projects. Interspersed throughout the set are images of flea-market and brocante finds relating to each location.