"I have long, indeed for years, played with the idea of setting out the sphere of  life-bios graphically on a map" 

                                                                                                                                                                                                                                           _ Walther Benjamin, A Berlin Chronicle, 1978

MAPPING PORTFOLIO 

It has been my long-term plan to develop a series of images that reflect the art in science, to develop art and multidisciplinary collaborations, challenge the norm and provide a safe place to explore new research. 

MAPPING I-III.

This is where it all began for me, as a student geologist mapping the Sub-Alps close to Castellane and the Gorge du Verdon in the Haupte Provence region of France with a 35mm film Pentax camera.  The folding and gravity gliding structures of the La Batie Limestone mountains providing a vessel and metaphor for later biological research. Who would have known I would return to these images years later and the beginning of an investigation into photographic  'Mapping Projects'. 

Using a multidisciplinary approach combined with lived experience of chronic illness, I trace time and memory through geological and biological time. Adapting and interacting with our environment changes both genetically and geologically.  As time shifts and changes through the epochs, it emerges, diverts, distorts, creates disorder, chaos and then order. 

'Mapping I-III' is a collection of images divided roughly into series. There is cross-over, of course, feel free to interpret as you wish. 

A PROCESS.

The mapped landscape revealed in the images acts as a vessel to transport the science, communicating the ambiguous and the unknown. It acts as a background onto which the micro and the macro of the internal and external human landscapes are gently positioned. The repetitive nature of the images reveals the constantly repeated events whilst the sets of images are produced as if a scientific experiment catalogued for success or failure and reflected in its numbering. The abstraction recognises areas of ambiguity explored often through topographical and geometrical shape removing the onerous requirement of controls and variables leaving space for subjective expression and interpretation. This safe place prevents the viewer from being defined by their condition.

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