Statement

My practice uses climate-adapted cameraless photographic processes to make images as material records of environmental change. Working without a camera, I collaborate with sunlight, water chemistry, and plant matter so that atmospheric and ecological conditions, acidic rain, polluted seawater, and disturbed soils, physically imprint the photographic surface. The works sit between image and evidence: photographs that are also traces of place, contamination, and vulnerability.

Across several ongoing series, I treat the print as an ‘ecological wetroom’ where other-than-human agencies co-author the outcome. I work with climate-adapted cyanolumen on expired, pre-exposed RC darkroom paper using acidic rain and fragile plant material; combine climate-adapted cyanotype with soil chromatography on Whatman filter paper using polluted seawater, acidic rain, and disturbed soil; and develop climate-adapted cyanotypes on archival watercolour paper using polluted seawater, sea salt, and vulnerable plants. These materially driven methods draw on photography’s intertwined, and often contested, histories of scientific inscription and archival record, while insisting that the photographic sheet can function as a site where climate and matter become visible.

I do not merely wish to represent climate change; I ask how photography, through its materials, methods, and infrastructures, can become more active in resisting it.