An old family album includes pictures of my father, sitting on the knee of his grandfather, who was a fisherman in the Scottish town of Dunbar. I am drawn to explore the place and discover the people who live and work in a town where the old and the new parts are separated by the East Coast railway. This project is deeply personal and a reminder of my mortality.

Using trail cameras to photograph animals and humans crossing my orchard in a southern French village, I seek to answer the question: how do humans and animals cohabit this terrain? Photographs are in black and white to emphasise that the terrain is the same for both night and day time visitors.

Sedgemoor, profoundly man-altered and a ‘landscape’ in the truest sense of the word. I attempt to explore my attraction to the place and somehow articulate its different, equally remarkable, strands of archaeology, industry, ecology and history.

The colour drains as the night falls, the sound of the torrent intensifies, the beaten water rages. Ephemeral bubbles coalesce and explode, the remnants swept downstream to form carpets of foam. Night River uses analogue, digital and camera-less photography to create immersed photographic objects in situ.

"Arall Otherland. A Spring Day, cool water, shade from sunlight, yesterday, tomorrow, forever."

Spirit of Nene is about finding my Identity, searching for roots. It is about paddling in muddy waters and diving into clear and refreshing streams. The River itself can represent our Life journey from the Source to the Mouth.

The seaside has long been seen as a centre for pleasure, where visitors can discard their everyday cares and enjoy themselves. How does this notion manifest in the daily life of a seaside town? How do people interact in and with this liminal space?

On both sides of my family, the generations before my parents' were rural folks, making their livings and raising their families on farms in Southern Ontario, Canada. It is this knowledge that drew me to the countryside just beyond the city limits where I live today to make new images and to attempt to make visceral contact with the past through photography.

The future, a star-faring society receives our early TV images and concerned for our future journey’s to Earth to save us from ourselves. Arriving too late they are left to ponder the cause of our passing from the remains left behind. This project confronts climate change using science fiction story telling in a visual context. There is a delicious irony in using fiction to convey fact.