The quarry is more of a socio-political site than a metataphorical one.
The city’s buildings and its infrastructure are literally gouged from the landscape, few knowing where or how the materials arrived there. These ‘hidden’ industrial landscapes hold the key to the cities foundation

2. There is a lime stone quarry in Weston that I visited recently. Although the excavation halted, some of the machinery is still there. Your Photographs do not show any man made machinery or human presence at all. Is the focus of this series 'timescapes' purely on the effect on the geology of the land?

Just as there is no landscape photography without a socio-political content or context there are no landscape photographs without people. You will find in almost all of the images I have produced in the theme “Timescapes” some residue of human intervention or forgotten artefact acting as a ‘punctum’ the word Roland Barthes invented to describe “that accident which pricks me” often overlooked or insignificant in the grand scheme of the photograph. These could be an old bucket barely visible in the far distance, a brightly coloured piece of piping or simply a footmark in the ground. All indicators of human presence and witnessed by the photographer

3. During your visit to the Gallery, we discussed that the passage of time can develop these old quarries into new habitats where life grows. Is the interaction with wildlife and the quarries important to you?

When human intervention and extraction of material is considered uneconomic, the repossession of the site by nature is inevitable. The photographs trace this and in some ways reassure the viewer that all is well. However, the hidden order of events (e.g. chemical leaching) through an extended time frame can produce a different and more unacceptable outcome. New habitats are formed and flora and fauna begin to re-establish themselves. Entropy will out.

4. I think your triptychs 'Timescapes in Red Clay' and 'Garth Wood Quarry 'Spit and Feathers' can relate to the title of this exhibition well, because of the division of frontal and both side's of peripheral vision. They are like an alternative perspective to taking a panoramic image, what do you think?

I like Jon Clarkson’s description of the triptych “functioning as a pictorial form of non-resolution’ Thus creating a space akin to a cinematic jump-cut that reminds the viewer with a jolt that these photographs are material objects. The peripheral vision achieved by the use of the triptych is designed to encourage the viewer to ponder the problem of undertaking a bodily sensation of moving through space rather than standing and admiring the view. Simultaneous vision combined with proximity of position.

5. I found what Jonathan Clarkson said very intriguing; 'On one level, these images are instances of nature imitating art' in your catalogue of Timescapes. The quarries are suddenly compared to the sculptor Anish Kapoor's minimal dark empty voids. Is comprehending the quarries as minimal sculptural works something you intended?

I think the comparison was made to Robert Smithson’s ‘Spiral Jetty’ I was very conscious of this reference when making my photograph ‘Spit and Feathers’ and within in these environments it is very difficult not to be aware the historical precedents set by artists like Richard Serra, Carl Andre, Donald Judd and Robert Smithson. I see the reference as part of a continuum revisiting their ideas and bringing contemporary meanings to the methods and images I use.