“The woman stood motionless, or so it seemed, her feet slowly sinking into the sticky black leaf litter below the surface. There was hardly a breeze, no movement, just the occasional chirp from the Summer’s last Swallow, breaking the silence at this mountain lake. 
But when you look closely, you see ripples oscillating away from the woman’s body, continuing almost imperceptibly across the lake. Her energy, her life force was affecting the landscape in a clearly visible, tangible way, utter connection between our living organic form and the earth we come from.”

“Landscape Figures” explores the relationship between organic human figures and a notional ‘wild landscape’.

For Glyn the landscape has always been more important than photography itself but for over three years now he has spent much of his time on a project exploring fragility of the human form in wild landscape, but also the sensuous relationship of the human to that environment.

In his late twenties Glyn discovered for himself the freedom & liberation of being nude in the great outdoors, whilst sunbathing on naturist beaches and this greatly influenced his attitudes to nudity and his approach to this project.

“I found myself fascinated by the link between the stripped-bare naked form and the naturalness of the wind-formed sand – everything seemed ‘right’, understandable and connected. I started to place myself in many other landscapes whilst out and about shooting images for my gallery, and I realised that the simple exploration of nude figures within landscape was becoming a self-portrait project, but there was a growing intrigue to see if others would relate to my ideas”.

Glyn started to work with amateur volunteer models who were friends and members of the general public. The more images he produced, the easier it was to find new volunteers, inspired as they were by what they could see as a growing and intriguing project, and a project in which they would leave their own comfort z

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