As an artist I situate my work in the intermedia space between photography, painting, and process. My practice explores photography as a material object and its creation as a series of gestures and processes that allow my curiosity and need for novelty to take the lead. I am interested in the material possibilities of photography and the intersection between material, gesture, process and play. Rather than using photography to capture images ‘out there’, that represent something external, I am exploring how images might emerge from the photographic process itself and express something of the phenomenology of these intersections. I love the imperfections, and the merging of what comes from me and what comes from the material. I specifically work with obsolete colour photographic papers and films that are decades old, yet still vibrant with colour and possibility, which might otherwise be redundant. Being able to transform them into something new, not through any sense of nostalgia, but rather a desire to breathe new life into them, fills me with joy.
This work joins the long-standing dialogue exploring questions around the thingness of photographic materials. My practice brings together art and science, reaching back in time to the birth of photography and capturing the essence of its innovation and creativity. Working with these obsolete materials, I’m exploring molecular level interactions to establish a new visual language for an otherwise redundant technology. For me, there is a mystery at work in analogue photography that surpasses the technicality of the process and taps directly into the imagination. I am interested in the possibilities that exist within, in the absence of the imposition of camera or light. Light has long been considered the fundamental building block of photography, yet in a post-medium praxis, I believe this boundary is no longer impenetrable.
