Gathering Evidence:

I approach and photograph the fabric of the contemporary urban ' landscape' with an ecstasy pertinent to its speed/space relation to substance and a caution that knows where the human subject does and does not belong. Panopticon circumstances and situations of surveillance; the posturing of visual 'objects and the monitoring of the gaze are shown up in my work as images I experience in the labyrinths of runways and showcasing that constitute our postmodern urban domain. As a flaneuse I was particularly drawn to public spaces which are traditionally the site of male dominated corporate and institutional power; bank towers, headquarters for multi-national corporations, and the underground passage ways which control the flow of people and link the modules of skyscrapers. I soon came to realize that these spaces, as non-places, both everywhere and nowhere, within what Marc Auge calls supermodernity (Non-Places : introduction to an anthropology of supermodernity, Verso 1995) are reminiscent of all the futuristic utopian and distopian images of the city, from its functional perfection in Things to Come to the imagined virtual spaces of corporate headquarters in William Gibson's Chiba City.

These places, began my questioning of what constitutes public space. Although they are open to the public, they are heavily monitored and what is allowable is tightly controlled. What is permissible is what is instrumental to the flow and accumulation of capital - the going to and coming from the office in regulated patterns of movement, eating as fuel for work, speaking as an exchange of information, everything else is excess to be eliminated. In this kind of space photographing is a transgressive act done with the knowledge I am under surveillance; surveying the surveyors, moving faster than the security guards.

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