As a writer, photographer and educator, there is a social backbone within my creative work that should be interpreted as a form of constructive activism.
It is my hope that forthcoming published work will challenge, motivate and inspire.
'From a style perspective, what has always intrigued me are the motivations of subjects wishing to project a 'look', make an impression. The resourcefulness and often desperate need to be seen as an individual deserves to be identified and assessed.'
'From the fringes of society to commercial hotspots, from clubland to Fashion Week events and the minute-by-minute bombardment of social media, an assessment of those wishing to strut an exhibition of one's self merits serious consideration beyond an infantile thumbs up / thumbs down. Such website comments are invariably a sad reflection upon a certain level of functioning.'
PP Hartnett has always focused on individuals who work a dynamic 'look', subjects for whom transforming their appearance means a lot more than fancy dress and the selfie-promotional moment.
'I interact with the subjects I stalk, talk with them. My pictures don't glamorise the subject. If anything, it's the bloodshot eyes, gaping pores and psychology beyond the make-up that I've always wanted a viewer to probe.'
It's evident that it is the mavericks and the social risk-takers who interest Hartnett, as well as the fast-lane fashion obsessives.
Hartnett's compulsion to document the extremes of youth culture in transition has always revolved around the themes of consumption, decadence and conspicuous sexuality played out against an urban backdrop.
Hartnet's body of work is characterised by a poetic appreciation of imperfection, personality and eccentricity.
PP Hartnett has thrived through turbulent decades, which so many of his peers did not survive.
'Punk? The 80s? The music scene and clubland were fueled by amphetamines, alcohol and self-absorbed narcissism. Then came capital letters, hitting hard. Fast-lane moths, straight to the flames. The late 70s and early 80s were a time of exhibitionism, voyeurism... fetishists, on parade. Towards the end of the 80s, Ecstasy created monsters of suburbanites at raves. Messed-up, loved-up smilers, heading for Casualty.'
PP Hartnett leads a nomadic lifestyle, selecting to live in remote parts of the world.
'I need to detach myself to process. It takes time to reflect upon youth in transition, society at large and the chief puppeteers who pull the strings within a range of style-based industries.'
Hartnett has never owned a mobile phone, doesn't own a television, last drove a car in 1982.
'A big NO to Twitter, Instagram, Facebook and Pinterest.' Hartnett lives out of the UK for at least six months of each year. 'I take my time to read, research, consider, regroup, then add to my photographic archive, producing writing to go alongside what I have recorded.'