A graduate from Middlesex University, London, Thomas Wynne first submitted his series James’ Pocket for Issue #4 of Untitled Collective.
Wynne has exhibited his work internationally including Sheffield, Derby, London and Lisbon. He studied BA Photography at MiddlesexUniversity in London.
Primarily focused on a conceptual perception of landscape, his work addresses ways in which intricacies of human nature are represented through interactions with the landscape.
Since graduating, you took part in an artist residency at Wolverhampton University – how did this come about and what exactly did it involve?
In terms of the residency at Wolverhampton, I am still in residence there at the moment. The scheme is an internal scheme that allows new graduates to be in residence, but runs alongside the national/regional AA2A scheme. This primarily involves me using facilities in anyway i see fit to develop new work. In a ‘trade’ for my access I offer my experience to work alongside tutors in delivering classes to all years on the Ba course. Up to now I have work worked first years teaching them colour darkroom printing and am now associated with the module run by Grain working with third years. Again, offering my experience and just being another set of eyes to offer opinion. I also have opportunity to run workshops and borrow any equipment that I require, so it’s a fantastic opportunity.
Where do you see yourself progressing within the next few years? What are your goals?
Going forward there is a bit of uncertainty. At the moment I am also an ‘emerging artist’ representing Format International Photography festival based in Derby, as part of a cross European scheme to develop emerging artists and curators led by Pro-curate and parallel intersection. With this I have exhibited in Lisbon at the end of last year and recently just returned from a meeting in Lithuania. I will now be showing my new work in Łódź fotofestival in Poland in June, and again as part of the programme in Zagreb, Croatia in September. This is where the uncertainty lies, I don’t know what might come of this exposure and may exhibit more after the programme closes. In terms of goals I would like to begin teaching more and producing more work, quite a basic request, but I’m open to whatever arises.
Apart from some personal photographs of friends, we can see that the majority of your work is landscape. With regards to the editorial shoot you worked on with Judith Kerr for FT Weekend Magazine, how did you come to be a part of this?
The FT commission was a lucky break. I had the pleasure of meeting Emma Bowkett at my degree show in London and spoke about my work. Although my degree work (Ground Control) is not at all linked to portraiture, she obviously liked how I spoke and looked at my website and portraits. From that she offered me the commission. I have since produced another commission for Financial Times.
I’m interested in your new images from 2018 on your website blog. Do you think this is turning into a series, or more of a hobby, exploring where you live. Where do you see it going forward?
The personal local work, loosely titled ‘BMV’ is currently still just a hobby project. I get very irritable when I’m not producing, so this allows me to shoot and produce whilst there are gaps in my main production. It also gives me opportunity to walk and discover the area more. It may turn into a full blown project/book in the future, but I don’t not have plans as of yet.
What are you currently working on?
So currently, as I stated I have just ‘completed’ the work for Lithuania. Yet this will depend on installation and formation, so even though it’s now on my website, I’m not openly broadcasting this yet. I am now starting a new project based on UFO sightings in the West-midlands. I am still researching for this, so looking at the declassified files, newspaper reports, and hopefully soon the archives in the Birmingham Library. As I am on it now, I don’t fully know the angle that the work is going to take, but is influenced by Larry Sultans ‘Evidence’ 1977, and Sara, Peter & Tobias - Phenomena of East Wing Gallery.