As a dancer I was really in a bubble. It was an all-consuming career and lifestyle - one which started at such a young age and really shaped me. When I was of university age, I’d get approached on the street by modelling agencies, but nothing ever came of it. I’d go to castings and see these models all holding their portfolios, and I’d be very curious about the photography within as these guys were getting cast, and I wasn’t. It felt like this deep mystery to me at the time. It was the height of the Abercrombie and Fitch years. That was maybe an initial introduction.
Eventually, I’d move to Europe to dance, and my biggest inspiration was the choreographer William Forsythe who led a company in Frankfurt, Germany. He is someone who really influenced my ideas of what ballet and contemporary dance could be - always pushing the envelope. The photos for his company were like nothing I’d seen before within a dance context. Bodies were blurred, twisted, collaged, flipped - all rules were broken, and I was fascinated by their freedom within such a disciplined context.
I’d eventually get a small camera and bring it everywhere from the rehearsal studios to the street and spend countless hours making portraits of people I found interesting. I was very naïve as I’d never picked up a photobook or knew really anything about photography. It wasn’t until much later that Richard Avedon’s American West was shown to me, where my life really changed forever.
Dots were connected, and it became a key to a world which I was very much in the periphery of but came to fall in deep love with.