Harriet Gifford

My practice uses photography and sound to explore the relationships between the human body, memory, and place. Through the layering and merging of photographs and sound environments, fragments of the human form are combined with urban and natural imagery to create semi-abstract works that resist a single, fixed reading. Colour is used as a structural and emotive element, shaping atmosphere and guiding perception rather than describing reality.

 

The images are constructed intuitively rather than illustratively. They do not aim to describe specific narratives, but to evoke states of remembering — moments where past and present, inner and outer worlds, begin to overlap. The human figure and voice are often partially obscured or dissolved into their surroundings, suggesting identity as something fluid and continually shaped by environment, experience, and time.

 

The built environment, landscape, and bodily form are treated as equal elements. Surfaces, textures, and shadows function as carriers of memory, hinting at traces left behind rather than complete histories. The work operates in the space between recognition and ambiguity, where meaning is sensed rather than explained.

 

By withholding clear narrative resolution, the work invites viewers to bring their own histories and interpretations. Identity, in this sense, is not presented as fixed or singular, but as something assembled through perception and recollection. The works become sites of encounter, where personal memory and collective experience quietly intersect.

 

At its core, the practice is concerned with how we locate ourselves — within landscapes, within bodies, and within memories — and how photography and sound can hold multiple, shifting truths at once.