ncompassing.

By employing cultural objects and contemporary abstraction, the work holds a dynamic tension — questioning one's spatial sense — stimulated through colour, form and materiality. Photographs of the accompanying cultural objects disseminate elements from the butterfly houses — by transferral of condensation — to either historic or contemporary vessels. Simultaneously, they explore a metaphysical connection whilst insisting on their separation. Alexander's photographs, though bold and unusual in colour, make visible a reality which is enduringly elusive and indescribable. They testify to their own reality and postulate another more concealed experience.

The work draws from a variety of personal sources, but most importantly, Alexander's four month sojourn through the heart of Africa. In a sense, each photograph is autobiographical, helping to decode the fabric of space, essentially how 'here' and 'there' is in a perpetual dialogue. This notion is again suggested by Alexander’s use of experimental, degraded and unused analog film from his travels through Africa. Reacting to light and temperature, these photographs in a sense cannot ‘perform’ without the assistance of their surrounding humid environment. They hold an atmosphere of growth. In doing so, the work continually hints at the authors own tropical desire amongst a fragmented recollection of the past. However, it may be more accurate to say through an open attentiveness this work hopes to encourage an aptitude of receptivity to others.

Publications:

- Source Photographic Review, no. 90, 'Aurelian.' Summer 2017
- British Journal of Photography, no. 7862, 'Aurelian.' August 2017

Press:

- AINT-BAD
- The Plantation Journal
- British Journal of Photography

Awards

- South West Graduate Photography Prize - Finalist. 2017 (Exhibition October 2017)
- FR Awards, Photography Week One - Winner. 2017 (Solo show February 2018)