My photographic work stems from an interest in documenting details within environments that are often overlooked, whether that's through observational street walks or more personal subject matter. I am drawn to exploring domestic spaces and the emotional attachments to objects found there. My main project ‘Mave’ is about my Nana, Mavis, and her home in the Welsh countryside. It explores family relationships, loss and memories. This project began by documenting her and her home in the last years of her life and has continued since she passed. These photographs depict everyday reminders of my Nana, alongside the objects and intimate arrangements that were left in her home. They uphold tangible elements of the past such as archival family photos, and everyday household ornaments. Within these artifacts, traces of life and the fragility of time becomes apparent. This work champions our lasting memories of people, places and everything that is left behind.
During my design history and theory studies, I wrote an essay about the portrayal of American families in the late 1950s and 60s in advertising, politics and mainstream culture. I compared hegemonic ideals of family circulated by companies such as Kodak and Life Magazine, with documentary photographers such as Gordon Parks and Diane Arbus. I argued that Parks’s and Arbus’s work exposed a hidden reality that was being ignored by American structures of power and wealth.
During my design history and theory studies, I wrote an essay about the portrayal of American families in the late 1950s and 60s in advertising, politics and mainstream culture. I compared hegemonic ideals of family circulated by companies such as Kodak and Life Magazine, with documentary photographers such as Gordon Parks and Diane Arbus. I argued that Parks’s and Arbus’s work exposed a hidden reality that was being ignored by American structures of power and wealth.
