PERSONAL STATEMENT
MA Photography, University of Brighton

My path into photography has never been straight. I began in graphic design and illustration, and very early on I had the chance to work alongside David Hockney and create designs for the Royal Mail. Those experiences taught me how to think visually and how to trust the eye. After ten years working in London advertising with blue-chip clients, I became worn down by the constant pressure, so I took what I thought would be a short break in India. Three months became three years. I was overwhelmed by the intensity of the place, the colours, the spirituality, and the contradictions. Out of that immersion I started a small fashion label using one-off vintage saris and turning them into simple, elegant Western-cut clothes that I sold in London. It was instinctive and playful, and it showed me how creativity can grow in unexpected places.

When I returned to the UK I realised I no longer fit into the corporate design world. I moved to Brighton, retrained as a holistic body therapist, and spent more than a decade working closely with people in ways that required deep listening, empathy and stillness. Those years changed the way I understand the body, emotion and the internal worlds we all carry. These insights now feed directly into my photographic work, along with my own long process of introspection around mental health and neurodiversity.

For the last eight years I have been working on a long-term photographic project about mental health, using self-portraiture, symbolic still life and constructed images. I call this project Exposure Syndrome. The work is slow, personal and sometimes difficult, but it has become the most honest way I know to explore states of mind that are usually hidden. I am trying to create images that speak from the inside out, without flattery or performance, and without turning struggle into something romantic. Alongside the photography I make abstract watercolour paintings I call soulscapes. These come from the same emotional place but move in a different direction, allowing me to work with colour, gesture and atmosphere without explanation.

I am applying for the MA Photography at the University of Brighton because my work has reached a point where I need structured challenge, critical conversation and a clear academic framework. Brighton’s course has the right balance of experimentation, theory and technical freedom. I like that it encourages students to question what a photograph is and what it can do, and that it brings together traditional and contemporary approaches without forcing them apart. Brighton has been my home for more than twenty years, and this course feels like the right place for me to develop work that is rooted in lived experience rather than abstraction.

Earlier this year I showed an early stage of Exposure Syndrome during the Phoenix open studios. Dame Maria Balshaw came to the private view, saw the work and told me personally to keep going because she believed in it. That moment confirmed that the project speaks beyond my own story. My hope is to bring this work into spaces where it can be of use, including NHS psychiatric wards, mental health organisations such as Mind, exhibitions, and possibly commissioned work that opens dialogue around psychological experience.

Exposure Syndrome

We all put our best foot forward—smiling, nodding, saying we’re fine. It’s how we keep the wheels of society turning. A necessary rhythm, perhaps, to avoid being crushed by the weight of others’ burdens.

But in a world filtered through perfection—especially on social media—our ability to connect with compassion and authenticity is quietly eroding. The constant gloss masks our deeper truths.

Sometimes, we need to pause. To let the mask slip. To show our underbellies—our vulnerabilities, our conditions, the parts we often hide.

This exhibition is my pause. A space where I reveal another side of myself—my shadow side. Because I, like you, am multifaceted. Through this work, I invite you to lean into that truth. To see yourself in these images. To know that it’s okay to be raw, to be real, to be human.

Exposure Syndrome

The Dishes

Combined ADHD and ADD
616mm x 1169mm

2025

All my life, I was told I was careless, lazy, distracted—a dreamer, a loner. Misaligned. Out of focus. Never quite “normal.”

In the early 90s I launched a promising design career, working with the Royal Mail and David Hockney. But the same old judgments followed, and so did the setbacks.

Everyday tasks—brushing my teeth, making tea, doing the dishes—felt impossible to sustain. Building simple habits seemed out of reach.

In 2017, I was diagnosed with combined ADHD and ADD. That moment re-framed everything.

This work reflects that shift—how understanding can transform struggle into insight, and chaos into creativity.

Dark Night of the Soul

Bipolar Type 1 - Pshychosis
616mm x 1169mm

2025

In many cultures, psychosis is viewed not as a mental illness but as a Spiritual Emergency. My own experiences reflected this perspective. I felt as though a veil was being lifted to reveal a deeper reality, allowing me to see, hear, and experience life in a more profound and enlightened way. While this was at times awe-inspiring, it was also accompanied by fear and uncertainty.

I've encountered a number of “Dark Nights of the Soul,” some of which felt like an ego death, and others like a re-enactment of past trauma. During the night that I have represented in this piece, I was convinced that my daughter had been killed, that my legs had been broken, and that I was blinded by fear. Through years of reflection, I now view these episodes as both a rapid spiritual journey and a mental health condition in need of treatment. I believe a more comprehensive understanding is needed—one that bridges both the spiritual and mental health aspects, which is currently lacking.

Uncomfortably Numb

Bipolar Type 1 - Depression (Work in Progress)
616mm x 1169mm

2025

This project is a work in progress. The first four photographs are the only completed images; they appear exactly as they were taken, with no editing and no effects applied. The images on the right-hand side are early drafts. These will eventually be desaturated to reflect the grey, flattened, monotonous visual field that often accompanies depression. What you see here represents the initial stages of development, not the final piece.

My intention is to visualise the internal mechanics of depression—the way it repeats, stalls, and loops. Depression is not dramatic; it is rhythmic, cyclical, and numbing. Time slows. Days blur. Movement becomes effort. The world loses contrast and weight, settling into a fog that sits between you and everything else.

These are early thoughts and preliminary explorations: how to portray the heaviness, the inertia, the muted sensory field. How to render the feeling of watching life from behind a grey veil, as if the colours have drained away and the world continues on the other side of a glass you cannot break through.

This ongoing work attempts to make visible that internal suspension—the uncomfortable numbness where emotion is present but inaccessible, where existence continues but with a quiet, persistent drag that shapes every moment.

24 Hours

Viral Cronic Fatigue Syndrome
616mm x 1169mm

2025

Life gave me a good battering, and until 2017, I kept getting up and pushing forward. I rebelled against abuse, neglect, mental illness—my own and others’—grief, and the weight of single parenting.

They called me the “smiler.” I hid behind it, worked hard, loved deeply, and explored the world with wide eyes and open hands.

Then I hit a wall. A virus knocked me down for six months. I couldn’t get out of bed. Fatigue isn’t tiredness—it’s a collapse. Like batteries that never fully recharge, no matter how much you will them to.

In this work, I’ve dropped the smile. This is what lives underneath, on repeat, 24 Hours a day, every day, year after year.