The Materiality of Light concerns itself with the visual representation of ‘deep time’ by exploring recorded ancient light written on the print surface and questions how photography records ‘events’ not just immediately, but over the longer time. 

I stopped using cameras in 2015 and concentrated on recording starlight using large (homebuilt) telescopes capable of holding photopaper. In addition, I have also employed fibre optics, spectroscopy techniques and analogue print technologies to create colour and form from within ancient light. 

Resultant works use time (in the form of trapped starlight), either on its own (written on a paper surface), or else included into objects and materials to re-present certain ideas and understandings we use to explain the world and universe around us.  

My work is a fusion between science and creativity and I attempt to show how understanding or ‘seeing’ a difficult concept (for example the laws of physics) instead of being demanding, can also be a thing of great wonder and beauty. 

To this end, process and aesthetic have equal weight in the production and presentation of my ideas and concepts. 

I currently work based on a 250-acre hill-farm in Dartmoor National Park area (UK recognised dark sky site) I have also made work in Tenerife and in the Chihuahua desert. 

I currently support my practice by teaching part-time at University of Gloucestershire. I was a Professor of Photography teaching at Savannah College of Art and Design from 2003-2010. 

Previous work has published in Time, The Guardian amongst other publications. I also have work in the Scottish National Portrait Gallery permanent collection.  

Prior to completing a BA and MA at Edinburgh College of Art, I completed a technical apprenticeship in Radar, Satellite Radio and Telecommunications working as a Marine Technical Officer onboard merchant shipping.