Reorientation is a series of staged self-performances made in real landscapes across Britain during a period of profound personal upheaval — the dissolution of a long marriage, separation from young children, the loss of a family home. The naked figure in each image is both subject and instrument: stripped of the familiar coordinates of domestic identity, relocated within environments chosen for their symbolic resonance with the psychological territory being navigated.

These are not digitally constructed images. The body is present in real space, in real weather, in real light. The vulnerability is not simulated.

The titles take their names from idiomatic phrases — Whatever One Sows, After Pride, On Deaf Ears, A Rock and a Hard Place, Leap of Faith, Paper Tiger, Time and Tide, If a Tree Falls, Of the Times, Give and Take — each carrying, in its complete form, a weight of cultural wisdom about consequence, endurance, compromise and the possibility of what comes after difficult things. The titles arrived after the images, not before. They were recognised rather than planned.

Reorientation preceded and directly informed the Guises body of work and the PhD practice that followed. It is where the autoethnographic method began: the recognition that to make work honestly about male vulnerability, it was necessary to be genuinely vulnerable — not to illustrate a thesis, but to inhabit one.