Portfolio

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Ref: NEH-1986-10-AM-0001

The pictures were made in Black & White in available light, at home, with my medium format Mamiya 645. I printed them myself. — Ref: NEH-1987-04-AM-0005

The pictures were made in Black & White in available light, at home, with my medium format Mamiya 645. I printed them myself.

The pictures were made in Black & White in available light, at home, with my medium format Mamiya 645. I printed them myself.

I was discovering when the light was good in certain spaces. I threw a Victorian tablecloth over a mobile wardrobe rail to create a background. — Ref: NEH-1987-05-AM-0001

I was discovering when the light was good in certain spaces. I threw a Victorian tablecloth over a mobile wardrobe rail to create a background.

I was discovering when the light was good in certain spaces. I threw a Victorian tablecloth over a mobile wardrobe rail to create a background.

Loving shadows, this portrait of my daughter entered a much large project, 'Woman to Woman' 1990, as part of a triptych. — Ref: NEH-1988-07-AM-0001

Loving shadows, this portrait of my daughter entered a much large project, 'Woman to Woman' 1990, as part of a triptych.

Loving shadows, this portrait of my daughter entered a much large project, 'Woman to Woman' 1990, as part of a triptych.

Sometimes, catching the light quickly, my portraits did not necessarily fit into strict project frameworks. But later became part of my long ongoing project of pictures of my daughter, Daisy. — Ref: NEH-1989-03-AM-0002

Sometimes, catching the light quickly, my portraits did not necessarily fit into strict project frameworks. But later became part of my long ongoing project of pictures of my daughter, Daisy.

Sometimes, catching the light quickly, my portraits did not necessarily fit into strict project frameworks. But later became part of my long ongoing project of pictures of my daughter, Daisy.

When I witnessed a scenario at home that I knew would work in the project I could sometimes run and get my camera and make a picture there that lasted into the 3 years the project took to shoot, assemble, edit and create. — Ref: NEH-1989-07-AM-0006

When I witnessed a scenario at home that I knew would work in the project I could sometimes run and get my camera and make a picture there that lasted into the 3 years the project took to shoot, assemble, edit and create.

When I witnessed a scenario at home that I knew would work in the project I could sometimes run and get my camera and make a picture there that lasted into the 3 years the project took to shoot, assemble, edit and create.

This triptych came together with a picture I made at Cimitiere du Pere Lachaise in Paris, where I appropriated grief for shame. From Woman to Woman 1990, Triptych 4. — Ref: NEH-1990-11-AM-0005

This triptych came together with a picture I made at Cimitiere du Pere Lachaise in Paris, where I appropriated grief for shame. From Woman to Woman 1990, Triptych 4.

This triptych came together with a picture I made at Cimitiere du Pere Lachaise in Paris, where I appropriated grief for shame. From Woman to Woman 1990, Triptych 4.

I was exploring my femininity. I wanted my audience to bring their own life experiences to their readings. From Woman to Woman 1990, Triptych 19. — Ref: NEH-1990-11-AM-0020

I was exploring my femininity. I wanted my audience to bring their own life experiences to their readings. From Woman to Woman 1990, Triptych 19.

I was exploring my femininity. I wanted my audience to bring their own life experiences to their readings. From Woman to Woman 1990, Triptych 19.

Woman to Woman 1990, Triptych 18. — Ref: NEH-1990-11-AM-0019

Woman to Woman 1990, Triptych 18.

Woman to Woman 1990, Triptych 18.

I photographed following a young friend and her mum to school one day, I was entranced by how she looked and how that made me feel. This picture seemed to have a life of its own and went on to stand alone in many different contexts. — Ref: NEH-1989-09-AM-0003

I photographed following a young friend and her mum to school one day, I was entranced by how she looked and how that made me feel. This picture seemed to have a life of its own and went on to stand alone in many different contexts.

I photographed following a young friend and her mum to school one day, I was entranced by how she looked and how that made me feel. This picture seemed to have a life of its own and went on to stand alone in many different contexts.

Daisy with her friend Angie — Ref: NEH-1986-04-AM-0002

Daisy with her friend Angie

Daisy with her friend Angie

The project I made during my Fellowship year 1991/2 at The National Museum of Photography Film and TV. Daisy, 12, at Home 1991, Entering the Masquerade 1992. — Ref: NEH-1991-10-AM-0018

The project I made during my Fellowship year 1991/2 at The National Museum of Photography Film and TV. Daisy, 12, at Home 1991, Entering the Masquerade 1992.

The project I made during my Fellowship year 1991/2 at The National Museum of Photography Film and TV. Daisy, 12, at Home 1991, Entering the Masquerade 1992.

I was exploring the poignant time in a girl’s life between 11-14 years. Three strands: Home, School and Fantasies made the framework I used for the pictures. Lynn, 11, at school, Bath 1991, Entering the Masquerade 1992. — Ref: NEH-1991-04-AM-0002

I was exploring the poignant time in a girl’s life between 11-14 years. Three strands: Home, School and Fantasies made the framework I used for the pictures. Lynn, 11, at school, Bath 1991, Entering the Masquerade 1992.

I was exploring the poignant time in a girl’s life between 11-14 years. Three strands: Home, School and Fantasies made the framework I used for the pictures. Lynn, 11, at school, Bath 1991, Entering the Masquerade 1992.

This picture became the illustration for the single song Started Out by Georgia released by Domino Records in 2019. Hannah, 12, at Daisy’s Slumber Party 1991, Entering the Masquerade 1992. — Ref: NEH-1991-06-AM-0002

This picture became the illustration for the single song Started Out by Georgia released by Domino Records in 2019. Hannah, 12, at Daisy’s Slumber Party 1991, Entering the Masquerade 1992.

This picture became the illustration for the single song Started Out by Georgia released by Domino Records in 2019. Hannah, 12, at Daisy’s Slumber Party 1991, Entering the Masquerade 1992.

Girls, 12, at Sport in School, Bath, 1992, Entering the Masquerade 1992. — Ref: NEH-1991-04-AM-0004

Girls, 12, at Sport in School, Bath, 1992, Entering the Masquerade 1992.

Girls, 12, at Sport in School, Bath, 1992, Entering the Masquerade 1992.

Daisy, 12, and Sarah, 14, Bathing the Dog, 1991, Entering the Masquerade 1992. — Ref: NEH-1991-08-AM-0004

Daisy, 12, and Sarah, 14, Bathing the Dog, 1991, Entering the Masquerade 1992.

Daisy, 12, and Sarah, 14, Bathing the Dog, 1991, Entering the Masquerade 1992.

Group of Girls, 11 and12, at school, Knottingley, 1992, Entering the Masquerade 1992. — Ref: NEH-1992-04-AM-0008

Group of Girls, 11 and12, at school, Knottingley, 1992, Entering the Masquerade 1992.

Group of Girls, 11 and12, at school, Knottingley, 1992, Entering the Masquerade 1992.

Liane had chosen this 2 weeks before and when I came back to photograph her she had borrowed a dress from her mum, and changed her hair. I set the picture in a local club, where we borrowed the glass for her lemonade. Liane, 14, ‘Looking Older’, 1992, Entering the Masquerade 1992. — Ref: NEH-1992-06-AM-0013

Liane had chosen this 2 weeks before and when I came back to photograph her she had borrowed a dress from her mum, and changed her hair. I set the picture in a local club, where we borrowed the glass for her lemonade. Liane, 14, ‘Looking Older’, 1992, Entering the Masquerade 1992.

Liane had chosen this 2 weeks before and when I came back to photograph her she had borrowed a dress from her mum, and changed her hair. I set the picture in a local club, where we borrowed the glass for her lemonade. Liane, 14, ‘Looking Older’, 1992, Entering the Masquerade 1992.

Lindsey, Lisa, and Victoria, 11 and 12, at school Knottingley, 1992, Entering the Masquerade 1992. — Ref: NEH-1992-04-AM-0016

Lindsey, Lisa, and Victoria, 11 and 12, at school Knottingley, 1992, Entering the Masquerade 1992.

Lindsey, Lisa, and Victoria, 11 and 12, at school Knottingley, 1992, Entering the Masquerade 1992.

I chose this picture to end the project as an icon of what happens next in a girl’s life. Older girl with Bubblegum outside School Disco, South Elmsall, 1992, Entering the Masquerade 1992. — Ref: NEH-1992-06-AM-0010

I chose this picture to end the project as an icon of what happens next in a girl’s life. Older girl with Bubblegum outside School Disco, South Elmsall, 1992, Entering the Masquerade 1992.

I chose this picture to end the project as an icon of what happens next in a girl’s life. Older girl with Bubblegum outside School Disco, South Elmsall, 1992, Entering the Masquerade 1992.

How does a first bra make a girl feel? When is it appropriate? This picture, made for this project, was later used as a worldwide cover for TIME magazine about puberty coming earlier than ever. The Apple of my Eye, 1991. — Ref: NEH-1991-10-AM-0001

How does a first bra make a girl feel? When is it appropriate? This picture, made for this project, was later used as a worldwide cover for TIME magazine about puberty coming earlier than ever. The Apple of my Eye, 1991.

How does a first bra make a girl feel? When is it appropriate? This picture, made for this project, was later used as a worldwide cover for TIME magazine about puberty coming earlier than ever. The Apple of my Eye, 1991.

How does a mother explain the sometimes confusing different interpretations society puts upon women's bodies, possibly in conflict? How do we explain how we feel about the ownership and power of our own bodies to a child who has not reached puberty? The Apple of my Eye, 1991. — Ref: NEH-1991-08-AM-0007

How does a mother explain the sometimes confusing different interpretations society puts upon women's bodies, possibly in conflict? How do we explain how we feel about the ownership and power of our own bodies to a child who has not reached puberty? The Apple of my Eye, 1991.

How does a mother explain the sometimes confusing different interpretations society puts upon women's bodies, possibly in conflict? How do we explain how we feel about the ownership and power of our own bodies to a child who has not reached puberty? The Apple of my Eye, 1991.

The Apple of my Eye, 1991 — Ref: NEH-1991-10-AM-0007

The Apple of my Eye, 1991

The Apple of my Eye, 1991

This public art project commission, made over about a year's visits to Southampton, opened up new horizons for me. Citybus 1993. — Ref: NEH-1993-03-AM-0001

This public art project commission, made over about a year's visits to Southampton, opened up new horizons for me. Citybus 1993.

This public art project commission, made over about a year's visits to Southampton, opened up new horizons for me. Citybus 1993.

I focussed on 3 elements of bus journeys for this commission: imagining the lives of fellow passengers, looking out of the windows & daydreaming, and the frustration of waiting at bus stops. Citybus 1993. — Ref: NEH-1993-03-AM-0011

I focussed on 3 elements of bus journeys for this commission: imagining the lives of fellow passengers, looking out of the windows & daydreaming, and the frustration of waiting at bus stops. Citybus 1993.

I focussed on 3 elements of bus journeys for this commission: imagining the lives of fellow passengers, looking out of the windows & daydreaming, and the frustration of waiting at bus stops. Citybus 1993.

Ref: NEH-1993-03-AM-0014

Ref: NEH-1993-03-AM-0003

Ref: NEH-1993-03-AM-0021

Ref: NEH-1993-03-AM-0040

Ref: NEH-1989-07-AM-0008

Ref: NEH-1998-01-AM-0003

Ref: NEH-1993-04-AM-0002

Ref: NEH-1993-12-AM-0004

Ref: NEH-1994-06-AM-0001

Ref: NEH-2000-12-AM-0008

Ref: NEH-2000-09-AM-0067

Ref: NEH-1983-06-AM-0001

Ref: NEH-1997-09-AM-0003

Ref: NEH-2002-09-AM-0002

Ref: NEH-2004-05-AM-0001

Ref: NEH-2002-10-AM-0020

Ref: NEH-2003-12-AM-0003

Ref: NEH-2004-05-AM-0013

Ref: NEH-2003-06-AM-0018

Ref: NEH-2002-01-AM-0009

Ref: NEH-2005-05-AM-0018

Ref: NEH-2006-06-DE-0096

Ref: NEH-2017-2811-0511

Ref: NEH-2015-0711-0997

Ref: NEH-2014-1116-0723

Ref: NEH-2010-0404-0397

View Extended Portfolio

Please see the Extended portfolio available.

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