I’ve spent years in Italy, immersing myself in the classical painting techniques of the Old Masters, doing workshops at the Angel Art Academy in Florence and the Flemish Classical Atelier in Bruges. One of the most profound influences on my work has been the artist Caravaggio. For seven years, I painstakingly visited and copied every painting he created, a seven year process that helped me internalise his extraordinary mastery of light and shadow—the essence of Chiaroscuro. 

When I began copying Caravaggio’s paintings (in paint) I didn’t know exactly why I set myself this Herculean task. At the time, I said it was to practice the painting techniques I had been taught. However, over time, I realised I had embarked on a personal artistic journey to find my creative voice. I found a joy and fulfilment that comes with committing to a creative endeavour; a devotional practice done repeatedly, until one finds what they’re looking for.

The photograph “Flowers for Caravaggio” came at the end of the seven year painting process. “Flowers for Caravaggio” was an important marker for me as an artist. I had completed my apprenticeship and in this image I began to use my artistic voice, instead of copying. Secondly, this image signifies my giving these flowers to Caravaggio, with thanks, for all he had taught me. 

My journey into photography was born out of necessity—an artist’s need for the perfect reference. When commissioned to complete a painting I was often faced with photographs that lacked the depth and interest required to create a compelling painting. Rather than work from something that felt insufficient, I decided to take control of the creative process, resulting in a fusion of mediums where photography met my fine art roots. This wasn’t just about taking pictures; it was about crafting an image that would capture the soul of the subject and serve as the foundation for my paintings.

In my entry photograph, I wanted to capture something more personal, various strands in my current world: my love of Caravaggio, my work on a farm, and my life in Italy. Both Caravaggio and photography, in their different ways, are interested in the moment. The beauty of flowers is bold, glorious, but temporary. My photo leverages this commonality, and pays homage to elements found in Caravaggio’s own paintings: “Still Life with Fruit Basket” (1599); “Bacchus” (1596); and “Boy Bitten by a Lizard” (1594–1596), which loops back to the olive farm and where I live. 

I believe my photographs are the result of a knowledgeable painter looking through a camera lens, with one eye on art history, the other on individual self-expression.

My favourite Caravaggio paintings are those where the important part of the story is happening in the shadows, not in the bright lights. For the introverts among us, this is a very reassuring idea.

"The Calling of St. Matthew" is one such example. The moment of Matthew's calling is illuminated by a beam of light, while the surrounding figures and setting are enveloped in shadow. The most important figure in the story, Jesus, is in the shadow. In many works, Caravaggio's strategic use of light and shadow deepens the emotional and narrative complexity, hooking and engaging the viewer.

In his most powerful works, Caravaggio’s sharp division between light and dark isn't just for visual flair but also to direct viewers’ attention and to underscore the emotional or moral dimensions behind a scene.

I have experienced a natural high both behind the camera lens and behind my painting easel. The older I get, the more I have come to realise the importance of finding one’s artistic voice and sharing it with a wider audience. I feel very privileged to experience joy at the hand of my craft. Those fleeting moments we get to experience as photographers, as artists, are what give life its colour and meaning.

I like the camera’s ability to capture momentary beauty in everyday life, as a brushstroke might. I like the mix of colour composition and light which makes an image feel at once deliberate but intimate. My photograph, "Flowers for Caravaggio," wouldn’t work without its great combination of color and light which I feel is so reminiscent of the Baroque artist. And I enjoy the tremendous depth of emotion which is captured through color’s light and shade.

As an artist and photographer I am always trying to push against the obvious solution to image making. Works by Caravaggio can still teach a lot about how to use shadow in picture making. They show us powerful ways to create pictures that are complex or less straightforward. Before Caravaggio, backgrounds were filled with detail and attention. Today, negative space has become more talked about. 

Caravaggio teaches us how to use shadow rather than either detail or blank space to say something. Caravaggio’s shadow hooks the viewer and encourages them to think; in particular about what lies behind the scene, about the rest of the story, without giving away the answers. I believe that Caravaggio offers us a more charged alternative to the old tendency towards descriptive detail and the more modern preference for negative space. 

I have three projects going on almost simultaneously: a second conference speech and photo set for 2025, following on from my discussion of Twins in Art, which I did for the Twins Congress in Assisi last year; a second photo-book looking at the crossover of Classical Art and Photography following on from my debut book “Body of Work: artist. camera. museum” and a large scale painting series of classical, academy-style male nudes, in a circular format, titled “Bound Titans”.