Portfolio

Portfolio Extended

An extended Portfolio

A portfolio of 15 pictures of myself and my family identity. — Ref: NEH-1986-10-AM-0001

A portfolio of 15 pictures of myself and my family identity.

A portfolio of 15 pictures of myself and my family identity.

The pictures were made in Black &White in available light, at home, with my medium format Mamiya 645. I printed them myself. — Ref: NEH-1987-04-AM-0005

The pictures were made in Black &White in available light, at home, with my medium format Mamiya 645. I printed them myself.

The pictures were made in Black &White in available light, at home, with my medium format Mamiya 645. I printed them myself.

I was discovering when the light was good in certain spaces. I threw a Victorian tablecloth over a mobile wardrobe rail to create a background. — Ref: NEH-1987-05-AM-0001

I was discovering when the light was good in certain spaces. I threw a Victorian tablecloth over a mobile wardrobe rail to create a background.

I was discovering when the light was good in certain spaces. I threw a Victorian tablecloth over a mobile wardrobe rail to create a background.

Ref: NEH-1985-08-AM-0004

Loving shadows, this portrait of my daughter entered a much large project, Woman to Woman 1990, as part of a triptych. — Ref: NEH-1988-07-AM-0001

Loving shadows, this portrait of my daughter entered a much large project, Woman to Woman 1990, as part of a triptych.

Loving shadows, this portrait of my daughter entered a much large project, Woman to Woman 1990, as part of a triptych.

Sometimes, catching the light quickly, my portraits did not necessarily fit into strict project frameworks. But later became part of my long ongoing project of pictures of my daughter, Daisy. — Ref: NEH-1989-03-AM-0002

Sometimes, catching the light quickly, my portraits did not necessarily fit into strict project frameworks. But later became part of my long ongoing project of pictures of my daughter, Daisy.

Sometimes, catching the light quickly, my portraits did not necessarily fit into strict project frameworks. But later became part of my long ongoing project of pictures of my daughter, Daisy.

Some components of the triptychs worked as individual pictures but took on new meanings when juxtaposed with others. — Ref: NEH-1989-09-AM-0001

Some components of the triptychs worked as individual pictures but took on new meanings when juxtaposed with others.

Some components of the triptychs worked as individual pictures but took on new meanings when juxtaposed with others.

When I witnessed a scenario at home that I knew would work in the project I could sometimes run and get my camera and make a picture there that lasted into the 3 years the project took to shoot, assemble, edit and create. — Ref: NEH-1989-07-AM-0006

When I witnessed a scenario at home that I knew would work in the project I could sometimes run and get my camera and make a picture there that lasted into the 3 years the project took to shoot, assemble, edit and create.

When I witnessed a scenario at home that I knew would work in the project I could sometimes run and get my camera and make a picture there that lasted into the 3 years the project took to shoot, assemble, edit and create.

Visiting my everyday surroundings, I found pictures that represented my life. Things I did or had done in the past. My unconscious sometimes made meaning in the pictures. From Woman to Woman 1990, Triptych 22. — Ref: NEH-1990-11-AM-0023

Visiting my everyday surroundings, I found pictures that represented my life. Things I did or had done in the past. My unconscious sometimes made meaning in the pictures. From Woman to Woman 1990, Triptych 22.

Visiting my everyday surroundings, I found pictures that represented my life. Things I did or had done in the past. My unconscious sometimes made meaning in the pictures. From Woman to Woman 1990, Triptych 22.

This triptych came together with a picture I made at Cimitiere du Pere Lachaise in Paris, where I appropriated grief for shame. From Woman to Woman 1990, Triptych 4. — Ref: NEH-1990-11-AM-0005

This triptych came together with a picture I made at Cimitiere du Pere Lachaise in Paris, where I appropriated grief for shame. From Woman to Woman 1990, Triptych 4.

This triptych came together with a picture I made at Cimitiere du Pere Lachaise in Paris, where I appropriated grief for shame. From Woman to Woman 1990, Triptych 4.

Sometimes I knew exactly what I was looking for and others were found by hanging around in what I had identified as appropriate environments. From Woman to Woman 1990, Triptych 9. — Ref: NEH-1990-11-AM-0010

Sometimes I knew exactly what I was looking for and others were found by hanging around in what I had identified as appropriate environments. From Woman to Woman 1990, Triptych 9.

Sometimes I knew exactly what I was looking for and others were found by hanging around in what I had identified as appropriate environments. From Woman to Woman 1990, Triptych 9.

Some situations required careful permissions, some were caught running down city streets. I saw women living and working in the everyday. From Woman to Woman 1990, Triptych 10. — Ref: NEH-1990-11-AM-0011

Some situations required careful permissions, some were caught running down city streets. I saw women living and working in the everyday. From Woman to Woman 1990, Triptych 10.

Some situations required careful permissions, some were caught running down city streets. I saw women living and working in the everyday. From Woman to Woman 1990, Triptych 10.

I was exploring my femininity. I wanted my audience to bring their own life experiences to their readings. From Woman to Woman 1990, Triptych 19. — Ref: NEH-1990-11-AM-0020

I was exploring my femininity. I wanted my audience to bring their own life experiences to their readings. From Woman to Woman 1990, Triptych 19.

I was exploring my femininity. I wanted my audience to bring their own life experiences to their readings. From Woman to Woman 1990, Triptych 19.

Woman to Woman 1990, Triptych 18. — Ref: NEH-1990-11-AM-0019

Woman to Woman 1990, Triptych 18.

Woman to Woman 1990, Triptych 18.

I photographed following a young friend and her mum to school one day, I entranced by how she looked and how that made me feel. This picture seemed to have a life of its own and went on to stand alone in many different contexts. — Ref: NEH-1989-09-AM-0003

I photographed following a young friend and her mum to school one day, I entranced by how she looked and how that made me feel. This picture seemed to have a life of its own and went on to stand alone in many different contexts.

I photographed following a young friend and her mum to school one day, I entranced by how she looked and how that made me feel. This picture seemed to have a life of its own and went on to stand alone in many different contexts.

Daisy with her friend Angie — Ref: NEH-1986-04-AM-0002

Daisy with her friend Angie

Daisy with her friend Angie

Looking for material for Woman to Woman. It didn’t enter the project but became an old favourite. — Ref: NEH-1989-07-AM-0004

Looking for material for Woman to Woman. It didn’t enter the project but became an old favourite.

Looking for material for Woman to Woman. It didn’t enter the project but became an old favourite.

School Disco, Bath 1988 — Ref: NEH-1988-07-AM-0006

School Disco, Bath 1988

School Disco, Bath 1988

The project I made during my Fellowship year 1991/2 at The National Museum of Photography Film and TV. Daisy, 12, at Home 1991, Entering the Masquerade 1992. — Ref: NEH-1991-10-AM-0018

The project I made during my Fellowship year 1991/2 at The National Museum of Photography Film and TV. Daisy, 12, at Home 1991, Entering the Masquerade 1992.

The project I made during my Fellowship year 1991/2 at The National Museum of Photography Film and TV. Daisy, 12, at Home 1991, Entering the Masquerade 1992.

Ref: NEH-1991-01-AM-0008

I was exploring the poignant time in a girl’s life between 11-14 years. Three strands: Home, School and Fantasies made the framework I used for the pictures. Lynn, 11, at school, Bath 1991, Entering the Masquerade 1992. — Ref: NEH-1991-04-AM-0002

I was exploring the poignant time in a girl’s life between 11-14 years. Three strands: Home, School and Fantasies made the framework I used for the pictures. Lynn, 11, at school, Bath 1991, Entering the Masquerade 1992.

I was exploring the poignant time in a girl’s life between 11-14 years. Three strands: Home, School and Fantasies made the framework I used for the pictures. Lynn, 11, at school, Bath 1991, Entering the Masquerade 1992.

Early foreshadowing of tattoos on Daisy’s hand. Hannah and Daisy, 12, at Daisy’s Slumber Party 1991, Entering the Masquerade 1992. — Ref: NEH-1991-06-AM-0001

Early foreshadowing of tattoos on Daisy’s hand. Hannah and Daisy, 12, at Daisy’s Slumber Party 1991, Entering the Masquerade 1992.

Early foreshadowing of tattoos on Daisy’s hand. Hannah and Daisy, 12, at Daisy’s Slumber Party 1991, Entering the Masquerade 1992.

This picture became the illustration for the single song Started Out by Georgia released by Domino Records in 2019. Hannah, 12, at Daisy’s Slumber Party 1991, Entering the Masquerade 1992. — Ref: NEH-1991-06-AM-0002

This picture became the illustration for the single song Started Out by Georgia released by Domino Records in 2019. Hannah, 12, at Daisy’s Slumber Party 1991, Entering the Masquerade 1992.

This picture became the illustration for the single song Started Out by Georgia released by Domino Records in 2019. Hannah, 12, at Daisy’s Slumber Party 1991, Entering the Masquerade 1992.

This picture became the illustration for the single Mellow by Georgia released by Domino Records in 2019. Marie Claire and Anna, 12, after Daisy’s Slumber Party, 1991, Entering the Masquerade 1992. — Ref: NEH-1991-06-AM-0003

This picture became the illustration for the single Mellow by Georgia released by Domino Records in 2019. Marie Claire and Anna, 12, after Daisy’s Slumber Party, 1991, Entering the Masquerade 1992.

This picture became the illustration for the single Mellow by Georgia released by Domino Records in 2019. Marie Claire and Anna, 12, after Daisy’s Slumber Party, 1991, Entering the Masquerade 1992.

Girls, 12, at Sport in School, Bath, 1992, Entering the Masquerade 1992. — Ref: NEH-1991-04-AM-0004

Girls, 12, at Sport in School, Bath, 1992, Entering the Masquerade 1992.

Girls, 12, at Sport in School, Bath, 1992, Entering the Masquerade 1992.

Denise, Tasha, Joanne and Tanya, Bath 1992, Entering the Masquerade 1992. — Ref: NEH-1992-04-AM-0003

Denise, Tasha, Joanne and Tanya, Bath 1992, Entering the Masquerade 1992.

Denise, Tasha, Joanne and Tanya, Bath 1992, Entering the Masquerade 1992.

Sarah, 14, at Home, Entering the Masquerade 1992. — Ref: NEH-1991-08-AM-0002

Sarah, 14, at Home, Entering the Masquerade 1992.

Sarah, 14, at Home, Entering the Masquerade 1992.

Daisy, 12, and Sarah, 14, Bathing the Dog, 1991, Entering the Masquerade 1992. — Ref: NEH-1991-08-AM-0004

Daisy, 12, and Sarah, 14, Bathing the Dog, 1991, Entering the Masquerade 1992.

Daisy, 12, and Sarah, 14, Bathing the Dog, 1991, Entering the Masquerade 1992.

Daisy, 12, at Home, 1991, Entering the Masquerade 1992. — Ref: NEH-1991-08-AM-0005

Daisy, 12, at Home, 1991, Entering the Masquerade 1992.

Daisy, 12, at Home, 1991, Entering the Masquerade 1992.

Group of Girls, 11 and12, at school, Knottingley, 1992, Entering the Masquerade 1992. — Ref: NEH-1992-04-AM-0008

Group of Girls, 11 and12, at school, Knottingley, 1992, Entering the Masquerade 1992.

Group of Girls, 11 and12, at school, Knottingley, 1992, Entering the Masquerade 1992.

Girls, 11 and 12, at School, Pontefract, 1992, Entering the Masquerade 1992. — Ref: NEH-1992-04-AM-0014

Girls, 11 and 12, at School, Pontefract, 1992, Entering the Masquerade 1992.

Girls, 11 and 12, at School, Pontefract, 1992, Entering the Masquerade 1992.

Part of the project involved a separate school Media Studies initiative where I asked all the girls how they wanted to be photographed if they could be anyone, anywhere. Sarah, 12, as Morticia, 1992, Entering the Masquerade 1992. — Ref: NEH-1992-05-AM-0009

Part of the project involved a separate school Media Studies initiative where I asked all the girls how they wanted to be photographed if they could be anyone, anywhere. Sarah, 12, as Morticia, 1992, Entering the Masquerade 1992.

Part of the project involved a separate school Media Studies initiative where I asked all the girls how they wanted to be photographed if they could be anyone, anywhere. Sarah, 12, as Morticia, 1992, Entering the Masquerade 1992.

Donna chose to be a hippie. When I asked her to stand against the tree she was worried that she didn’t have the right shoes and I said ‘Not to worry, hippies didn’t wear shoes anyway’. Entering the Masquerade 1992. — Ref: NEH-1992-06-AM-0015

Donna chose to be a hippie. When I asked her to stand against the tree she was worried that she didn’t have the right shoes and I said ‘Not to worry, hippies didn’t wear shoes anyway’. Entering the Masquerade 1992.

Donna chose to be a hippie. When I asked her to stand against the tree she was worried that she didn’t have the right shoes and I said ‘Not to worry, hippies didn’t wear shoes anyway’. Entering the Masquerade 1992.

Liane had chosen this 2 weeks before and when I came back to photograph her she had borrowed a dress from her mum, and changed her hair. I set the picture in a local club, where we borrowed the glass for her lemonade. Liane, 14, ‘Looking Older’, 1992, Entering the Masquerade 1992. — Ref: NEH-1992-06-AM-0013

Liane had chosen this 2 weeks before and when I came back to photograph her she had borrowed a dress from her mum, and changed her hair. I set the picture in a local club, where we borrowed the glass for her lemonade. Liane, 14, ‘Looking Older’, 1992, Entering the Masquerade 1992.

Liane had chosen this 2 weeks before and when I came back to photograph her she had borrowed a dress from her mum, and changed her hair. I set the picture in a local club, where we borrowed the glass for her lemonade. Liane, 14, ‘Looking Older’, 1992, Entering the Masquerade 1992.

Lindsey, Lisa, and Victoria, 11 and 12, at school Knottingley, 1992, Entering the Masquerade 1992. — Ref: NEH-1992-04-AM-0016

Lindsey, Lisa, and Victoria, 11 and 12, at school Knottingley, 1992, Entering the Masquerade 1992.

Lindsey, Lisa, and Victoria, 11 and 12, at school Knottingley, 1992, Entering the Masquerade 1992.

Not in the publication, but included in the exhibition. Katie as a Fairy, School Show, Bath 1992 Entering the Masquerade 199. Katie as a Fairy, School Show, Bath, 1992 Entering the Masquerade 1992. — Ref: NEH-1992-07-AM-0003

Not in the publication, but included in the exhibition. Katie as a Fairy, School Show, Bath 1992 Entering the Masquerade 199. Katie as a Fairy, School Show, Bath, 1992 Entering the Masquerade 1992.

Not in the publication, but included in the exhibition. Katie as a Fairy, School Show, Bath 1992 Entering the Masquerade 199. Katie as a Fairy, School Show, Bath, 1992 Entering the Masquerade 1992.

I chose this picture to end the project as an icon of what happens next in a girl’s life. Older girl with Bubblegum outside School Disco, South Elmsall, 1992, Entering the Masquerade 1992. — Ref: NEH-1992-06-AM-0010

I chose this picture to end the project as an icon of what happens next in a girl’s life. Older girl with Bubblegum outside School Disco, South Elmsall, 1992, Entering the Masquerade 1992.

I chose this picture to end the project as an icon of what happens next in a girl’s life. Older girl with Bubblegum outside School Disco, South Elmsall, 1992, Entering the Masquerade 1992.

Pictures in this work contain self-portraits representing some of the different contexts of my emotional life concerning my body with specific reference to my breasts, married love is one of them. The Apple of my Eye, 1991. — Ref: NEH-1991-10-AM-0004

Pictures in this work contain self-portraits representing some of the different contexts of my emotional life concerning my body with specific reference to my breasts, married love is one of them. The Apple of my Eye, 1991.

Pictures in this work contain self-portraits representing some of the different contexts of my emotional life concerning my body with specific reference to my breasts, married love is one of them. The Apple of my Eye, 1991.

How does a first bra make a girl feel? When is it appropriate? This picture, made for this project, was later used as a worldwide cover for TIME magazine about puberty coming earlier than ever. The Apple of my Eye, 1991. — Ref: NEH-1991-10-AM-0001

How does a first bra make a girl feel? When is it appropriate? This picture, made for this project, was later used as a worldwide cover for TIME magazine about puberty coming earlier than ever. The Apple of my Eye, 1991.

How does a first bra make a girl feel? When is it appropriate? This picture, made for this project, was later used as a worldwide cover for TIME magazine about puberty coming earlier than ever. The Apple of my Eye, 1991.

How does a mother explain the sometimes confusing different interpretations society puts upon women's bodies, possibly in conflict? How do we explain how we feel about the ownership and power of our own bodies to a child who has not reached puberty? The Apple of my Eye, 1991. — Ref: NEH-1991-08-AM-0007

How does a mother explain the sometimes confusing different interpretations society puts upon women's bodies, possibly in conflict? How do we explain how we feel about the ownership and power of our own bodies to a child who has not reached puberty? The Apple of my Eye, 1991.

How does a mother explain the sometimes confusing different interpretations society puts upon women's bodies, possibly in conflict? How do we explain how we feel about the ownership and power of our own bodies to a child who has not reached puberty? The Apple of my Eye, 1991.

Fear of mastectomy is something that runs through the adult life of most women today. It has long been one of my biggest fears. Most women, including myself have had more than one scare. The Apple of my Eye, 1991. — Ref: NEH-1991-10-AM-0011

Fear of mastectomy is something that runs through the adult life of most women today. It has long been one of my biggest fears. Most women, including myself have had more than one scare. The Apple of my Eye, 1991.

Fear of mastectomy is something that runs through the adult life of most women today. It has long been one of my biggest fears. Most women, including myself have had more than one scare. The Apple of my Eye, 1991.

The Apple of my Eye, 1991 — Ref: NEH-1991-10-AM-0007

The Apple of my Eye, 1991

The Apple of my Eye, 1991

This public art project commission, made over about a year's visits to Southampton, opened up new horizons for me. Citybus 1993. — Ref: NEH-1993-03-AM-0001

This public art project commission, made over about a year's visits to Southampton, opened up new horizons for me. Citybus 1993.

This public art project commission, made over about a year's visits to Southampton, opened up new horizons for me. Citybus 1993.

Ref: NEH-1993-03-AM-0012

I focussed on 3 elements of bus journeys for this commission: imagining the lives of fellow passengers, looking out of the windows & daydreaming, and the frustration of waiting at bus stops. Citybus 1993. — Ref: NEH-1993-03-AM-0011

I focussed on 3 elements of bus journeys for this commission: imagining the lives of fellow passengers, looking out of the windows & daydreaming, and the frustration of waiting at bus stops. Citybus 1993.

I focussed on 3 elements of bus journeys for this commission: imagining the lives of fellow passengers, looking out of the windows & daydreaming, and the frustration of waiting at bus stops. Citybus 1993.

Ref: NEH-1993-03-AM-0014

Ref: NEH-1993-03-AM-0003

Ref: NEH-1993-03-AM-0002

Ref: NEH-1993-03-AM-0007

Ref: NEH-1993-03-AM-0021

Ref: NEH-1993-03-AM-0005

Ref: NEH-1993-03-AM-0006

Ref: NEH-1993-03-AM-0008

Ref: NEH-1993-03-AM-0017

Ref: NEH-1993-03-AM-0040

Ref: NEH-1989-07-AM-0008

Ref: NEH-2005-08-AM-0001

Ref: NEH-1987-09-AM-0001

Ref: NEH-1998-01-AM-0003

Ref: NEH-1993-04-AM-0002

Ref: NEH-1993-12-AM-0004

Ref: NEH-1993-12-AM-0001

Ref: NEH-1998-01-AM-0001

Ref: NEH-1988-08-AM-0012

Ref: NEH-1994-06-AM-0001

Ref: NEH-1994-06-AM-0004

Ref: NEH-1994-06-AM-0006

Ref: NEH-1989-08-AM-0002

Ref: NEH-1991-01-AM-0008

Ref: NEH-1990-06-AM-0004

Ref: NEH-1997-01-AM-0008

Ref: NEH-1997-01-AM-0007

Ref: NEH-2000-12-AM-0008

Ref: NEH-2000-09-AM-0067

Ref: NEH-1998-10-AM-0012

Ref: NEH-1983-06-AM-0001

Ref: Safeway UK

Ref: Safeway UK

Ref: NEH-1997-09-AM-0003

Ref: NEH-1999-08-AM-0001

Ref: NEH-2002-09-AM-0011

Ref: NEH-2003-04-AM-0014

Ref: NEH-2002-09-AM-0002

Ref: NEH-2004-05-AM-0001

Ref: NEH-1991-08-AM-0006

Ref: NEH-2001-07-AM-0001

Ref: NEH-2001-01-AM-0016

Ref: NEH-2001-01-AM-0025

Ref: NEH-2002-10-AM-0020

Ref: NEH-2003-12-AM-0001

Ref: NEH-2003-12-AM-0003

Ref: NEH-2004-05-AM-0009

Ref: NEH-2004-05-AM-0013

Ref: NEH-2004-05-AM-0014

Ref: NEH-2003-06-AM-0018

Ref: NEH-2003-06-AM-0012

Ref: NEH-2002-01-AM-0010

Ref: NEH-2002-01-AM-0009

Ref: NEH-2002-01-AM-0011

Ref: NEH-2005-05-AM-0018

Ref: NEH-2005-05-AM-0022

Ref: NEH-2006-02-DA-0175

Ref: NEH-2006-06-DE-0096

Ref: NEH-2009-07-DO-0511

Ref: NEH-2004-08-AM-0023

Ref: NEH-2017-2811-0407

Ref: NEH-2017-2811-0511

Ref: NEH-2011-0212-0817

Ref: NEH-2010-0401-0032

Ref: NEH-2014-1129-0119

Ref: NEH-2015-0711-0997

Ref: NEH-2014-1116-0723

Ref: NEH-2010-0404-0058

Ref: NEH-2010-0404-0397

Portfolio

A curated collection

Major Projects

All my major projects

Commissions

A small collection of published work

Books

A listing of my published books

About

A brief biography & achievements

Contact Information

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+44 - (0)7973 390 556

@nancyhoneyphotographer

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Contact Information

nancy@nancyhoney.com

+44 - (0)7973 390 556

@nancyhoneyphotographer

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