Within this body of work the act of photography is seen as an ontological enquiry in which the activity [In this case repetitive explorations of the urban and its peripheral landscapes] holds as equal an importance as the images captured. The traces, or fragmentary record of such activity coalescing into a multiplex, yet, singular image of urban uncertainty, anxiety and renewal; as seen written, scratched and burned in to the surfaces of the city. Such work may also be considered as a questioning of economic, political and social progress; the lens focused, as it is, on creating a fissure in the surface of the city as a manifestation of competing systems of order and control, with the act of photography seen as an expression of autonomy.
Over many years, as a counterpoint to the urban, the focus has shifted to the rural and the juxtaposition of these two contradictory environments traditionally found at the heart of the pastoral image. Within the pastoral the synthetic and the natural, the industrial and the rural compete for dominance, with the pastoral often seen as a response to the myths of progress and the effects of early industrialsation on rural green space. A process easily extrapolated to the contemporary world and the encroachments of digital and social media conglomerates on the metaphorical green spaces of personal choice, freedom and privacy.
Further afield, most notably in extensive works undertaken in Japan, the photographic act became an anxious psychological state and the camera a tool for ordering and arranging the unfamiliar into a narrative of personal psychological experience within an alien environment. Such distance leads to a heightened sense of nostalgia and a certain longing for familiar territory, a sense of home and place. Photography is an ideal tool for dealing with such states; the photograph embedded as it is with the language of memory and the commemorative. Such ideas, while not central, to the work are explored in works such as Prospects, 1980.
To return to the city, as with the work of the Situationists, the photographic undertakings described above aim at the maintenance of individual autonomy amidst the fatal strategies of the ever proliferating system of the Spectacle; a fire at the centre of the city.


Tim Freeman, 7-11-19
Liverpool