| The Rock Star of Colour - New York Times |
| A Photography Ninja - UK House & Garden |
| Prince of Paint - London Evening Standard |
| The Indiana Jones of Home Decor - Hearst Design Group |
| Gourou de Couleur - French AD |
| The One to Watch - Design Centre Chelsea Harbour |
| A Design Maverick - UK House & Garden |
| The Slim Shady of Architectural Colours - The Financial Times|
m: +44 (0)7891 742 431
OLIVER on Photography:
Photography offers something to manifest, quantified especially when capturing where and how we nest. The camera is a tool I use to distill narratives and inform ideas, and each frame is a condensation of my intuition and knowledge. I am by nature curious, and to me the exploration is more rewarding when it is also surprising.
I am not unequal, I am different, and at the centre of my work is a balance between innovation and harmony. Through my eyes, body and lens, I have very strong feelings and instinctively see compositions and potential results.
Photographs are not merely recordings or aides de memoire but a discipline and an art form, with their own focus, considerations, and place. I believe every photograph is a collaboration that illustrates different aspects of myself and the other, whether that other is subject, client, owner, or audience.
As a photographer I must be constantly alert for the telling moment. I have trained myself to release the shutter just as the Sharqi stops or a sudden, awful silence falls on a polite lunch. These are the frames I capture, the scripts I write, the things I relate to, to grow sharper.
I am gifted with natural spatial awareness, a photographic sense of direction, and a heart that is genuine. All my life I have expressed myself visually, to feed my imagination and share what I've observed. Changing the way we look at something leads to new discoveries and understanding other points of view. I like shooting interiors because they show me how other people shelter, what they define as home. As Marcel Proust wrote so wisely, 'The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.'
One of the most beautiful homes I have ever photographed was occupied by two orphan boys in Lalibela, Ethiopia. With almost nothing to their names they pasted newspaper photographs to the mud walls above where they slept. A contribution to the art of living has many values, and every quality deserves consideration and respect. The price of an egg is only one part of a bigger picture.
We are all orbiting the same sun. My path is characterised by a form of trust; trust in myself and the work that is shared with the camera and my higher power, as equal partners. What is achieved together is done with honesty, purity, joy, and faith. When these are combined, the potential for creativity increases exponentially. For me, this is vital.