In my last couple of posts, I shared a sense of discontent with photographing monoliths and monuments in their entirety and resolved to not pursue that path and focus on the surfaces and patinas. I can't separate the instinctive feeling I had like I was photographing a person (whilst photographing those, inanimate, objects). It was quite a strange experience. Regardless of the interior personifications that I had going on, more to the point, photographing these objects in full is too specific - it becomes about them as specific, identified, selected objects as opposed to the visual 'time' embedded in their timeworn and weathered surfaces. It would be natural for any audience to quite rightly ask 'why that particular monolith or monument over any other?', the answer is that other than the hermitage cells, there is no particular reason other than their ancient surfaces.

The 'particularities' of each patina determine each surface unique and distinguishable, like fingerprints or the wrinkles of an old person. The unique particulars of each surface speak philosophically about how each personal journey's through time is absolutely unique and individual.

I consider my work to speak first about time and impermanence in universally understood and recognisable capacities, which is why I do not want a direct reference to any specific historical person or event in time as this will neutralise its universality. To maintain universality, things must be anonymous, and vague. However, I do want to subtly offset a human presence with the collection of patinas and other elemental images I have been making. I have decided that the hermitage cells will be to singular hint towards this because in themselves, they epitomise the core aspects of my work as solitary places of spiritual reflection embedded in nature.