Process & Materials
How I work
My practice is rooted in analogue photography and hand-made processes, where images are shaped slowly through direct engagement with materials.
I work across photography, alternative printing, painting, sculptural forms, and occasionally sound, allowing these disciplines to overlap. Process plays an active role in meaning rather than simply serving as a method of reproduction, with images evolving through material decisions and physical engagement.
I’m drawn to approaches that resist speed and automation. Slowness, repetition, and physical labour are not incidental to the work — they are integral to how ideas around memory, time, presence, and the body are formed and held.
Materials & Place
In some projects, I work with hand-made and foraged materials drawn from the landscapes I photograph, using them to create pigments that are incorporated across photographic printing, painting, and mixed-media works. This is done carefully and with respect for the environment, taking only what is needed and working mindfully to minimise impact on ecosystems.
Working in this way reduces reliance on commercially produced materials while deepening the material connection between image and place. The substances used in the making of the work — earth, stone, and trace elements from the forest floor — become part of its meaning, carrying with them the physical presence of the landscape itself.
Alongside this, I work with a range of photographic, painterly, and sculptural materials, allowing each project to determine its own material language. This approach is guided by sustainability, care, and an awareness of fragility — both of the environments I work in and of the processes used to represent them.
Why Process Matters
For me, process is not separate from subject matter. The way an image is made — the materials it passes through, the time it takes to form, the marks and imperfections that remain — reflects the themes I continue to return to: memory, impermanence, myth, and the tension between the visible and the unseen.
The finished work is not simply an image, but an object shaped by its own making. Process becomes a form of attention — a way of slowing down, of listening, and of allowing meaning to emerge through material encounter rather than explanation.
Many of these processes are explored further within individual projects, where material choices respond directly to place, subject, and experience.