“My work combines painting and photography together, it all stemmed from my dissertation where I wrote about the Pre-Raphaelites and the invention of photography. When photography was first invented, in portraiture they didn’t really know what to do and didn’t know how to pose people. So, they would copy Pre-Raphaelite paintings, all the poses. Since then painting and photography have had a really close relationship. It’s something that I think is coming even more abridged now.

In all of my portraits, they are actually a series of eight, I take gestures from paintings, which are mostly from the renaissance and work them into a contemporary photograph. This is to confuse the viewer, because we have a really odd relationship you look at it and you think it’s absurd, ridiculous almost. When you see it as the sculpture from that time, you think it’s beautiful, you don’t question why they’re stood like that and obviously we do now, so it’s to sort of question the viewer’s understanding of not only the history of art and painting back then, but what we consider a photograph and a portrait now.

[On BA (Hons) Photography] we’re constantly pushing the boundaries, it’s not just this is a pretty image, it’s no, we want to question stuff, we want to really challenge how viewers perceive photography. I’m sure you can tell as a whole course, everything is so different.

I’m so glad that I went to a specialist university, it’s so creative as you walk around, everyone encourages each other. I’m very sad to see they end of it.”