The first of a series of interventions as exhibitions around London. These interventions will standout as unusual moments within our day to day activities with the aim of creating conversation between people.
INTERVENTION I is a series of black and white Pinhole images capturing the overlapping traces and movement of people on the underground. A space where inside the tunnels with no natural light we are continually “After Dark” yet people bring on to it the traces of the outside world; in being much less guarded and open to conversation during the evenings. This energy was harnessed by holding a guerrilla exhibition one May evening on the Victoria Line.
This series of images has been inspired by Christopher Clayton Hutton's WWII silk escape maps. The maps were concealed within monopoly boards and sent into prisoner of war camps by fake charities.
The guards recognized that if the prisoners were allowed some diversions they would be less troublesome and less likely to try and escape so games were accepted as part of care packages.
The concealed maps were printed on silk in order to be silent, lightweight and strong. They helped hundreds to escape and went undetected by German troops.
The secrets of the monopoly boards were officially declassified by the British Goverment in 2007.
The city is ever in metamorphosis, ever being changed and built upon. This causes a constant settling for some and upheaval for others.
This installation draws parallels to that faced by species of butterflies and moths: the habitat of which is under threat due to urbanisation of the landscape.
Knowing the material with which you work intimately is the role of the craftsman. Thinking goes hand in hand with the act of doing. Small adjustments to the work be done can greatly effect the efficiency of the object created. Each person I spent time photographing has a different approach to the material they are working with. Studio spaces have ranged from corners of living rooms to re-purposed chapels. Each craft is unique as is the person undertaking it. The handmade produce of the craftsman defies the homogeny of mass production.
I have created portraits of each craftsman using multiple images to capture the unique way they have of working.
Environmental Analogue Photography & sculpture
Alex Stone’s Shoreline 20/50 reflects on our throw away culture and the effect that this is having on the environment. In response to a recent study by the World Economic Forum which predicted that the weight of plastic within the worlds oceans will outweigh fish by 2050. This project plays with the point between the ugly and the seductive beauty of human consumption by stripping the images back to the basic essentials of our fast paced society.
Alex has collected plastic litter found along the Thames Path in order to reuse them as part of analogue photographic processes and sculptural casting techniques and then recycle them. Rendering a vision of single use plastics as they undergo the transference of environment from land to sea.