​James Mortimer states that humour in art is important, certainly the award winning artist doesn’t take himself too seriously, so when I arrived to photograph him in his Bath based studio, I think he was a little surprised when I said to him: “Don’t smile for the camera”.

In order to create the insightful and reflective image I had been commissioned to produce, and that I am proud to be known for, I wanted James to immerse himself in his day-to-day work. I don’t want my subjects to feel like they are posing or having to show a staged version of themselves. I explained to James I would photograph his face when he was in the moment, perhaps content, perhaps happy, but not smiling. By encouraging him to carry-on with his normal routine and by asking him questions about his extraordinary artwork, James’ initial nerves subsided and he started to forget about the presence of the camera.

​The art of taking an great portrait is to authentically represent a person, to showcase the essence of a personality in a still image. So asking James to continue painting, was more than a tactic to steady his emotions, it was a way of me entering into his world, of immersing myself in his environment to then capture his reality in my photographs. So this series of images featuring James Mortimer, echo the recurring themes in his work of myth and humanity, his unconcerned expression, mirroring that of subjects in his wonky, faraway lands.

James is a self-confessed “staunch non-collaborator” but my time with James did end in an art collaboration of sorts…well a 5×5 foot sheet of paper hung up in his kitchen on which he invited me to draw, doodle or sketch. The surreal result, which James describes as a mixture of “sincere art, toilet humour and inept scribbling” has contributions from friends, family and visitors, and is another manifestation of this artist’s quirky, understated humour.

For me, photographing artists is a enjoyable labour of love. My passion for understanding what motivates their creativity and to really get under their skin is what drives me. The connection between us, photographer and subject, as creatives is enhanced, maybe even symbiotic. James’ work certainly inspired me, including the aptly named ‘wall of inspiration’. This is a space where initial sketches are pinned up and returned to, to help develop the flow of the current piece he’s working on. It’s similar to the process of  when photographers take what might appear to the subject, as the same photo again and again. I am, in reality, with each shot I am reviewing, assessing and revisiting the original composition in order to achieve the final masterpiece.

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