What is the relationship between the people and the objects in this series?
The only formal differences between the portrait and object photographs could be thought of as simply differences that the viewer brings to the photographs, for my processes remain constant throughout. That is not to say that I treat the subjects of my portraits as inanimate objects, but rather on the contrary, the total subjectivity of my practice enables a treatment of absolute sensitivity towards both animate and inanimate subject matter. In both cases it is as if the constructed image itself becomes the living entity, the object of my practice.

What's with all the red?
I'm interested in the idea of a thing resembling itself, becoming its own image, and red things seem to embody a graphic quality most allowing of such processes. Objects of this hue appear to attain a heightened state of presentness, whilst at the same time seeming almost to drift, to partially remove themselves from the haptic register. I felt it was important to maintain conformity throughout the series, keeping the red colour exactly the same in order that it was able to function as an affective trait, as opposed to simply acting as a signal of similarity or difference amongst objects.

What role does digital manipulation play in your work?
My practice is centered around the pursuit of the final image, one that is envisaged even before the first photographic exposure is made. Digital manipulation enables me to hone in on this image, allowing the modification of certain aspects that in reality may not conform to this vision, however subtle these may be. The extent of such manipulation varies from picture to picture, sometimes necessitating the construction of composite images made up of several source photographs, but all that remains important to me is the attainment of the desired image.

What or who inspires you?
Having just returned from Florence, I've recently been immersing myself in art from the Quattrocento, with Fra Angelico's frescoes at San Marco being of particular inspiration to me. I'm fascinated by the blurring between realism and symbolism that one finds in such works, and an implementation of perspective and tonality that exudes a peculiar sense of 'otherness' that I find captivating. Other artists who have been of great influence to me include Hiroshi Sugimoto, Marcel Duchamp, Jim Dine, Matthew Barney, Stanisław Witkiewicz, as well as the wonderful Finnish painter with whom I've recently been collaborating, Nastja Rönkkö.

How did you enjoy your time at CSM?
Being in the studios on a day-to-day basis, bouncing ideas around amongst so many varied creative minds, was a great experience. My time at CSM really allowed me to shape my practice, giving me both the guidance and the space I needed to come to understand what it is that interests me about art.

What have you been up to since graduating?
Putting together my degree show at CSM really instilled in me the drive and ambition to pursue my line of artistic enquiry further. I'm currently doing my Masters at the Royal College of Art, where my practice continues to develop and evolve.

 To see more of Luke's work click here