Dan Tobin Smith

A unique talent is blurring the lines between live and sculptured image. Stephen Whelan takes in the views

For photographer-turned-director Dan Tobin Smith, the line between installation and image is deliberately vague. Moving seamlessly between the process of creating elaborate still life constructions and the final photographic result, it's difficult to classify what he does within the bounds of normal photography.

"I'm not sure I can say I privilege one art form over another," muses Tobin Smith when asked where his true loyalty lies. "I like the process of making an image, whether it's an instantaneous recording of an event or a more sculptured piece. It's nice, on the one hand, to build an image slowly and see what you are getting or going to get, and then really refine it in camera.

On the other hand, it's also great when you are shooting something unpredictable that you will only see when you get the film back or soon after the short event."

Often composed of seemingly random selections of objects, the chaotic imperative in Tobin Smith's work is balanced against an acute eye for compositional details.

"To a point, most of the shots I create are planned very carefully," he explains. "But I find
it helpful to start with a general idea of the set design; I don't plan the exact placement of everything in advance."

With a list of influences spanning the disciplines of architecture, engraving and science, Tobin Smith says his thought process is informed by multiple perspectives, quite often to playful effect. "At the moment, I'm working on projects exploring the use of materials such as powder, milk and butterflies. I like the idea of creating small worlds where the scale is confusing."