I went to the chairworks studio to take photographs of the space while music was being recorded. The space in which I photographed was stunning; the window light spread softly to each corner of the room, creating a photogenic compass. It was the ideal location for a project centred around human presence because it was softly lit with a generous collection of items once used by noted musicians. The soft light fell on these objects beautifully; causing soft shadows and elegant textures; something that would be difficult to find in other music studios. I found myself compelled to capture these structures, making use of the seemingly endless path made by the wires on the floor and the mystery of where they led. I captured the instruments furnished with the sheets of music they once played, along with mouth piece cover of a saxophone that in times past resonated these walls. Additionally, I saw the jacket of the musician lying majestically on a leather chair covered in alluring sunlight. A moment like this gives life to the object and the context of the project cements it in time with-in the walls of the studio. On first look, they are images of items in a studio, but when considered in context, they evolve into a large picture. They ignore the noise of the modern music industry; the mediated high fashion album covers and videos, the eventual stardom and arrogance and the expensive lifestyle. This larger picture calms down this soft-sell and returns music to its inner elegance; making structures of what people rarely see.
Giving people the opportunity to share in the splendour is what these images provide. They make people make their own connections of what once was and helps them experience what these musicians experienced in their finest creative moments. The black and white edit of these photographs take away all the distractions of the image and leave substance. Substance that is not there to appeal to the target audience of the artist (musician), but to share in the moments of creativity in a cordial space.