The act of using a camera is very constructive, yet violent connotations surround it. We 'shoot' to 'capture' and 'take' a picture, as if to own part of the soul of our subject. We collect photographs like a serial killer would collect mementos of their victims. Indeed, if we were to destroy a photograph of a deceased loved one, it would be akin to murdering that memory of them. A photograph's relation to reality provides a window through which we can voyeuristically peep to satisfy our desires and rekindle our memories.


There is no area of the medium where this is more apparent than landscape photography. Is it any surprise that the majority of landscape photographers are men? Subconsciously and patriarchally owning their territory of land and showing it off like the capture of a prize stag.


Since the advent of digital photography, the process of making and viewing photographs has become much more fleeting, due to the proliferation of images we encounter everyday. The more pictures we see, the more we take the physical subjects for granted.


In Tom's work he turns this violent, constructive yet ephemeral process on its head, giving the photograph back to the land. By displaying it in the landscape, open to the elements, he highlights the fragility of photographs and our perception of them. Tom uses the slowly eroding image as a metaphor for memory and its physical representation in a photograph. As the landscape before us ebbs and flows with the seasons, the photograph, the memory we take away, will slowly fade and all that will remain is a personal, hazy recollection of a moment in time.



Photographs coming soon.