I was interviewed by the good folk of Beyond Photography and you can see the full interview online via this link with an excerpt below.

"Talk to us about your Ouroboros series, what is the process?"

The Ouroboros sculpture was originally a commission but I expanded it into something bigger. It begins with the model and the 3D scan and for this work I had originally intended to use a single model but at the last minute he dropped out so, working with a specialist in 3D scanning and modelling, we actually composited together three different models.

I see 3D scanning as the next logical step in photography; if you consider analogue photography as 1.0, digital photography as 2.0, and 3D scanning as 3.0, and instead of having a 2D flat image that you can manipulate, you have a 3D model you can manipulate. Once I have that model, as in photography, I’ll choose how I want to execute the work. In this instance I’ve cast it in various sizes and materials like bronze or stainless steel using traditional lost- wax casting which is a method of casing that hasn’t really changed in six thousand years.

"That's a brilliant way to describe photography's transition into 3d. Your Ouroboros series is created digitally, but then executed as a sculpture, and your photography is heavily shot on film. Can you tell us about being an artist that uses both digital and more traditional methods?"

The sculptures can take many months and sometimes years to come together and so, especially in the case of Polaroid film, I like to be able to produce a work instantly, something tangible that I can in front of me right now. Also, in an ongoing series I started last year, I began to psychically cut the Polaroids and reassemble them and I see this almost as a form of “immediate sculpture”. I also love that once that cut is executed then there’s no going back.