“Tomorrow we shall be able to look into the heart of our fellow man, be everywhere and yet be alone”

L. Moholy-Nagy (1925)

Born in a log cabin in the darklands of Montana, the love child of a Latter Day Saint and a microbrewery, Kabyn was named thus so as to impose boundaries, both temporal and creative.

Rejecting these delimiters on existence, Kabyn threw off the itchy shackles of depression and went a-wandering through mountain wildernesses during an apocalyptic adolescence. It was during this sojourn that a camera was first acquired; a tatty but clever Box Brownie called Bird. This contraption was hard-won from a lonely shepherd in an epic marshmallow-eating contest that lasted three full days and nights.

Photography quickly became an obsession for Kabyn, and it is best to pass without a glance over the things done and favours sold in exchange for film and printing until the advent of free and flirtatious digital delights.

On arriving at the sea one mild and Tahitian night in darkest winter, Kabyn realised rambling would from now on be confined to flights of fancy and national holidays.

Kabyn’s first show, a stationary installation piece, took place in a long, dark tunnel filled with the comical detritus of living and “found” images. It was an instant hit with visitors, including one – an Art Historian (MA, Sussex) – describing the profound effect it had on her, “I was blown away”.

Kabyn has personally pioneered a photographic technique now known as ‘Getting the lens to look round the corner’ or Inversion, which has been extensively analysed in the more esoteric of photographic scribblings and probably influenced the late Roland Barthes when he described the photographic image as “Mad or tame? […] mad if [it’s] realism is absolute and, so to speak, original, obliging the loving and terrified consciousness to return to the very letter of Time: a strictly revulsive movement […] the photographic ecstasy.” (Camera Lucida, 1980).

Kabyn continues to work hard at not doing very much.