Colin’s first experience of photography was through a course in high school, he recalls, which he took as a way to avoid something “more serious” like French or Statistics, he says. “I wasn’t immediately drawn to it for any reason,” he continues, “but I found the more I learned about it, the more I could use it to generate ideas in my head, or out of my head and into the world.” For Colin, photography is unique for its versatile ways of communicating. “It can be both passive and/or active in its approach,” he says. “Not many other mediums have that capability.”
In Deeper Green, the photographer makes use of both these approaches. On the one hand, the series is passive in its observational and non-linear documentation of the alluring landscape. The camera’s point of view feels objective in individual images, but when the series is viewed as a whole, it takes on a more active stance, one that loudly promotes environmentalism and conservation.
Colin presents the viewer with sun-soaked images bathed in an exotic hue, an iridescent sea shell wrapped in newspaper, sprouting growths on a horizontal tree trunk, and peaceful aquamarine lagoons. It looks heavenly to say the least, but importantly, the depiction is not fetishised or overly exoticised. Overall, it’s a beautiful series of images to look at, but the underlying argument is clear that, as Colin puts it, “by being active and doing something about it, however you can – donating time, talent, or money – it can really make a difference.”