Simon Sandys is a photographer with a wide-ranging portfolio of interests.
HIs work ranges from large scale print installation work in festivals to the use of projected images and light as part of an experimental performance, making use of the photographic medium as a live prop interacting with the audience.
He teaches within the photography and moving image courses at the university.
Simon Sandys is a photographer with a portfolio that ranges from large scale print installation work in festivals to the use of projected images and light as part of an experimental performance, making use of the photographic medium as a live prop interacting with the audience.
Simon Sandys works in BA and MA Photography courses, teaching students a range of photographic processes, studio lighting techniques and digital skills, encouraging hands-on personal experimentation and exploration of images through a mindful approach.
He is a photographer with a portfolio that ranges from large scale print installation work in festivals to the use of projected images and light as part of an experimental performance, making use of the photographic medium as a live prop interacting with the audience Examples include: ‘Scrublands’ in the 2012 Brighton Festival and performances for Blank Productions and Lewes Literature Live: Will Self, Ralf Steadman and Martina Cotters spoken word poetry performances.
Sandys personal work often takes an observational stance and reflects an ambivalence towards photography and the image. Questioning the photographic act itself, he remains aware that many interesting and poignant images are often arrived at by ‘accidental’ and sometimes serendipitous means. He is currently exploring Wet Collodion photography, one of the earliest photographic processes, common around 1850 –1890.
Simon Sandys has over 15 years experience working commercially on constructed photographic installation/lighting projects as well as a variety of studio, still life and catwalk work which has been presented in various guises including works published in the New York Times, Royal Photographic Society Journal, Vogue online and other bespoke publications. He also carries out image manipulation work professionally.
In 2009 he worked closely with artist Michael Vogt shooting images and then compositing them to assist in the creation of Michael’s high profile, large-scale tableau installation ‘the other side of here’ (currently on display at the Corn exchange, London). More recently he has been teaching and collaborating with artists individually and in small groups, supporting the professional development of Dr Dora Carpenter-Latiri including the joint paper and exhibition 2012, 2014-15 Tunisian Women of the Book.
The meaning and value of photography has changed rapidly in recent years. More images have been produced in the last three years than in the history of photography from 1826 to the start of the century. Facebook alone estimates that it now receives around 6 billion photographic uploads per month. While we are witnessing this ubiquity and democratisation in photographic image consumption, Simon chooses to focus on a reflective, mindful and engaged approach in both his teaching and his photographic practice.
Simon’s practice draws on personal experience:
‘Two weeks in July’ was a reflection on an overlooked aspect of my domestic experience at the time. I noticed that my vacuum cleaner, when emptied, created these perfectly formed rectangular ‘slabs’ of dust. Over time I began to notice that these ‘slabs’ seemed to mirror many qualities inherent to the photographic image: they represented a segment of time and also formally resembled a photographic print. To me they began to function as slow developing Polaroids of a cross section of life taken over a couple of weeks, but translated into another form. The nature of the experience was that any peaks and troughs averaged out to a middle grey in the dust, yet within each slab small bright coIoured flecks of colour punctured through. I began to collect and photograph these ‘slabs ‘which mirrored another aspect of photography, in that it ritualises the collection of moments.