As with the paintings, I’m interested in honouring other lives, often in unfamiliar cultures. I’m drawn to projections of personality and hints of a story but also to composition, colour or contrast.
The cyclist in Portugal would seem to be posing yet not know that the circular manhole echoes his wheels. The older male leads the family along the beach in India. The young male lags behind. Neither are quite part of the female group. The fishermen compete daily on the Galata Bridge; the boat handlers on Lake Baringo work as a team. The people playing tag on the beach are unaware that behind them a young man is photographing his girlfriend: sport next to contemplation. Then there’s colour or different kinds of contrast: the brilliant red of the tomatoes in Kiev sunshine; the chiaroscuro in the church in Venice; the umbrella on the Bay of Bengal; the Bosphorus blue of the passenger’s hijab; amid sunbathers on Leblon Beach, the vendor straining to push his cart; the trader at the Tristan Narvaja Fair, unaware that the manikin head provides contrast in mood. Three photographs are lucky sightings from a moving vehicle: the man all in brown with blue shoes; the boy with the tree trunk; the donkey minder with the water containers, hurrying from an approaching storm.