My practice is an exploration of environmental aesthetics through collaboration with place. It endeavours to entangle the human and the more-than-human through site-responsive methodologies. Centred around the idea of tracing, I use direct- photographic processes such as cyanotype printing, lumen printing and pinhole photography; methods of making that involve a direct and deep level of immersion within the site. The works created reside closely to the life and ecology of the spaces in which they are made, situated within a more-than- human paradigm, and inviting necessary shifts in perception to engage with critical ecological concerns.
The artworks are responsive, live and intimate. Each one relates back to a moment of ecological interaction – the moment that it was made – in which weather phenomena, tidal flows and human culture cross paths on a page. This collision of entities means that each work is unique, like a temporal fingerprint. They raise questions regarding the agency of our more-than- human environs and entities, and how we might better relate to them; positioning the elements of the site, the artist and the observer in a new set of relations through the creation and exhibition of the artworks. This speaks to the larger issue of a growing separation between the human and the physical environment, from which their re-tangling will determine our future ecological ethos.