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The imagery for Less was made in a fortnight on the Isle of Lewis in Scotland.
The cover of the record features a mobile installation that I designed, made out of an abstracted drawing of the landscape and cut in aluminium. It was flat-packed and taken on a 700-mile journey with us - shapeshifting into different configurations at each site on the Isle that it encountered.
It becomes a mirror for the land; for seeing its ridges, layers, its ability to evolve under human and non-human forces.
Combined with suites of imagery taken around the isle that in their own ways attempt to dig beneath the visible surface of a place, what is presented with Less is an evocation of a landscape and its resistance to homogeneity.
A set of earthen images were made for deathcrash's debut LP, Return.
They were taken from the peat bog landscape of the Hatfield Moors, almost a year after it was devastated by fire in May 2020 (which burned for more than 10 days). Blackened birches and crusted bark-like ground made green moss pop like neon in a landscape that’s been exploited, extracted, cut and re-cut for fuel since the 13th century. Today, it’s a nature reserve and SSSI with an incredible calm amidst a sense of hope of what might follow all the past and recent destruction - a tone the underpins the music in Return.
The artwork for people thought my windows were stars was made through abstracting a painting I made of Dartford Crossing, a peripheral urban site bridging across marshland just outside of London.
The imagery for Bones was the outcome of a meticulous translation of an organic, living display of flowers into singular, vector lines in digital space.
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