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, soil, minerals and plant matter, allowing acidic rain, pollution-affected seawater, disturbed soils and changing climatic conditions to physically enter the photographic process. The resulting works sit between image and evidence: photographs that are also traces of place, contamination and vulnerability.
Across several ongoing bodies of work, I adapt processes including cyanotype, cyanolumen, lumen and soil chromatography in response to specific sites and environmental conditions. Rather than treating photographic chemistry as fixed, I allow variables such as water chemistry, salinity, acidity, temperature, sunlight and locally encountered materials to influence the final image. These methods draw on photography’s histories of scientific observation, classification and archival record while questioning the environmental impact of photographic production itself.
Through The Ecological Wetroom, I extend this enquiry beyond the photographic surface to consider washwater, residues, filtration and material afterlives as part of the work. I do not simply want to make photographs about climate change; I ask how photography, through its own materials, methods and infrastructures, might respond to and be changed by it.