For one week in London, there was a strange, striking light reaching into the sky after dark. You could see it clearly for miles around.
This was an artistic installation to coincide with the centenary of World War One by Ryoji Ikeda which was placed close to the Houses of Parliament. We joined the many Londoners who visited the source of the spectral column – 49 searchlights accompanied by a haunting, minimalist soundtrack.
Our visit was accompanied by heavy rain, which I though would ruin the chance to take photographs. But of course the lights picked up the deluge and created a wonderful spectacle. I even allowed my camera to get a little wet.
All the visitors wandered around in awe at the light piercing into the sky, unfazed by the downpour. There was an eerie sense that they had gathered to be lifted up by extraterrestrials.
When the light was turned off, it was missed. This was something special.
A visit to my mother’s garden in Essex culminated in this. It was just one shot of an almost flawless daisy that set my mind in motion, reproducing it in numerous forms and piecing them together as if sewing a patchwork quilt.
Here are the individual tiles so you can study the colours and contrasts in further detail.
We’re leaving. Our time in this little corner of west London has been far too short. We were settled and happy but have to move on.
This place has been a surfeit of riches for photographic inspiration, from the very fabric of Brackenbury’s old houses, the pub on our doorstep and of course Ravenscourt Park, which I’ve captured through the seasons.
Actually, we’re not going far at all. It’s a change of postcode, not country, and no doubt we’ll pop back regularly. But you have to live and breathe a neighbourhood to feel part of its fabric.
Our new place in the world will no doubt provide fresh material for my camera lens. Until then, here’s a brief homage to this slither of London W6.
Take a photograph and reinvent it to create a brand new work.
This collection of digital art was inspired by a post by South African photographer and artist Herman van Bon who used a specific material to create a series of abstracts.
I examined my own images of tree wood in its various forms, and decided to take it far from its original state with a digital injection of colour and fresh textures, emphasising – often transforming – what was already there.
Everything from molten gold to multi-colour madness resulted from the organic, dependable hues of wood.
A mass of bright yellow scored through a deep red backdrop.
This is a frame of digital art created from an original photograph. A wholly natural substance and texture is at the heart of this work. I have produced a series based entirely on one source. Come back soon to see more and find out what it is.
Unless you’d like to hazard a guess in the meantime…