Photography and cinema were always an important part of Beau's life even before he had an understanding of them. As a child, he enjoyed watching foreign language movies. Notwithstanding the subtitling, he did quite enjoy the visual language of the moving image. His own practise was to keep the sound muted and watch the images move independently. However as Beau matured, he came to a certain realisation: it was not the foreign languages or the moving images that thrilled him as such, but the remote. Having the video remote in his grasp so he could pause, rewind and recapture a moment was powerful. It allowed him to relive those moments he'd seen in the movies and wondered if this was a possibility in life to relive moments, beautiful moments. This fascinated him. And this fascination to relive such beautiful moments inspired him into becoming a photographer. Thinking back, Beau saw the video remote control as being his first camera.

Now in his collective work for more than 12 years, Beau creates images that offer the viewer a visual experience of adventure, travel, romance, mystery, beauty, solitude and dialogue. He has an innovative and experimental approach to photography. Knowingly avant-garde, his works seek to strip accepted meaning and custom in the profession; he is neither a fashion nor a commercial photographer. In his works, Beau prefers to be a storyteller and to create narratives with his images. His intrinsic understanding of light and colours has been crucial in helping him create poetic and cinematic moods when creating photographs. He likes bridging colours and playing with light whether on the skin of his subjects, or on their clothing and surroundings. He will often defer from predictable and easier options where uniformity is easy to achieve and there are no mysteries to find or create. He opts for bigger challenges in order to achieve a rare uniformity, like in a coloured photoshoot where different array of colours would require systematic arrangement in order to achieve a desired harmony. A perfect picture to Beau is one that is harmonious and silently musical. 'Such pictures', he describes, 'are not so silent but are startling echoes of a beautiful sound. You can see what is hidden and feel what was felt if you look at them long enough.'

Beau is not restricted by any pretences nor conventions in photography. 'Art should not imprison us,' he says. 'We should be free to express our ideas and vision insofar as this freedom is used in service to others and can promote worthy ideals - this is what art is. Art should inspire and intrigue, elevate and fascinate, mesmerise and challenge us. It should make us feel alive and instil a sense of wonder. It should be multidimensional. It should be eclectic. It should reflect the variety of life's vicissitudes with meaningful aesthetics.'

Though beautiful images do deserve our full attention, he feels they are imprisoned in the world of books and magazines where they are oft used as subordinates to enhance the texts. In Beau's body of work, the images and texts are symbiotic, as two separate worlds - the worlds of photography and typography, separate but together with the disjuncture that separates them replaced with a romantic bridge of innovation. The images and accompanying text are individually framed; this refer separation is not hierarchical. His pairing of images and narratives and visuals and sound is inspired from his practice as a relationship and life coach. This practise helped mend broken hearts and reconciled distances between lovers and friends.

In the piece "Frame Of My Mind," Beau uses the contrasts of sunlight and dark shadows as visual representatives for the pages of his mind and invites the viewer to read his private and most intimate thoughts.

In his collage "On My Best Behaviour: In Her Shoes", he uses comedy to illustrate the lessons and truths that have helped shape his outlook and understanding of love.

His prints are signed, dated and are limited edition.
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