This series of works were inspired by visits to Bosnia and revolve around notions of existence, identification and issues of communication. These are explored through a versatile approach to photomedia, utilising digital imaging and liquid emulsion techniques onto various surfaces: transparent layering, images of graffiti and the phonetic translations of English evoke the feeling of whispers, the disappearance of words and ultimately the loss of the identity of the individual.



In the piece titled 'Bev, Cavan, Kevin, Julie, Richard, Sam, Lars, Jossy, Barry' isolated details of the body are photographically transferred onto delicate oval glass supports. The ovals are indicative of mirrors yet cannot be used in such a manner. Your eyes are taken through the transparent images of the navel, the very core of our existence. A number of the images are duplicates, with differing exposure times therefore creating a fading versus strengthening effect. In the wall pieces 'seeing is believing' the angle of the text and the mirrors are different on each piece, some are quite easy to read, others are not. In each case, whilst reading the text you can see varying amounts of your own reflection in the mirrors, reminding you of your existence and in some cases these snippets of text.

The images in 'evidence I & II' are taken from trails made by insects and small animals in the condensation on plastic covering the haystacks in Srebrenik, Bosnia. This is the only indication that these animals have been there. The text is printed onto glass and is the Bosnian and English translation of the poem written in remembrance of the children who died in 1995, in a park in Tuzla, Bosnia.