Rawsonlow creates photos that can also be defined as conceptual artworks. By choosing mainly formal solutions, Rawsonlow absorbs the tradition of

remembrance art into daily practice using a single shot

in-camera with little or no post production.

‘I feel it’s important to capture linear time beyond our standard perception to realise the true abstract nature

of our reality’s visual offering.’

His photos are based on formal associations which open a unique poetic vein. Multi-layered images arise in which the fragility and instability of our seemingly certain reality is questioned.

By questioning the concept of movement, he tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.

His technique provides a useful set of allegorical tools for manoeuvring with a pseudo-minimalist approach in the world of photography: these meticulously planned works resound and resonate with images culled from the fantastical realm of moments beyond our minds limited 60 images per second.

His collected, altered and own works are being confronted as aesthetically resilient, thematically interrelated material for memory and projection.

‘The possible seems true and the truth exists, but it has many faces’, as Hanna Arendt cites from Franz Kafka. By contesting the division between the realm of memory and the realm of experience, he finds that movement reveals an inherent awkwardness, a freakshow that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss.

Rawsonlow work isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound.

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Rawsonlow currently lives and works in London.