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Primitive art derives from considerable personal experience and indeed is often provoked as a result of the profundity or intensity of that experience. Yet artistically their art is seen as naive, that is, inexperienced. It is the significance of this contradiction that we need to understand.
The primitive begins alone, he inherits no practise. doesn’t use the pictorial grammar of the tradition – hence he is ungrammatical. He has not learned the technical skills which have evolved with the conventions – hence he is clumsy. When he discover on his own a solution to a pictorial problem – he often uses it many times – hence he is naive.
So why discard tradition? Because that his own lived experience which is forcing him to make art has no place in that tradition.
The will of the primitives derives from faith in their own experience and a profound scepticism about society as they have found it.
What it is saying could never be said with any ready made skills. For what it is saying was never meant…to be said.

– About Looking by John Berger.

If your pictures aren’t good enough, you’re not close enough.

– Robert Capa

I first picked up a camera when I was about 9, my grandfather’s Agfa Billy Record (a 120 roll film portable bellows camera from the 1930’s). Since 120 film and processing was expensive (especially for a 9 year old), I quickly graduated to a 35mm Russian made Lomo Cosmic Symbol and didn’t look back. Entirely self taught, I practised photography as autobiography. Shooting what I saw, shooting my life. A primitive artist.

Fast forward to the early 2000’s and many many camera’s later, I had bought my first Digital SLR and started going out on the neo-burlesque scene that was blossoming in good old London town. It was a visual treat, a feast for the eyes, and I had in my hands a tool that could capture that gaudy circus of fun with cinematic aplomb. With digital I could do what would be near impossible with film – shoot in the dark, on the spur of the moment, getting as close up as I could, drenching each frame in colour and life.  My pictures became surreal low-brow monsters. Expressionistic, bright, intense and almost always shot at night.

If you’re running an event, or hosting a party, and want colourful, fun, close-up photos for the record, then do get in touch.

Clients include: TimeOut, Lost Vagueness, Bizarre Magazine, Heat, The Mayor’s Thames Festival, Glastonbury Festival, Run-Riot and Drive Productions.

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