As part of my current academic research, I am exploring the boundaries of colour photographic materials and processes with this emerging body of work under the working title Chromogenesis.

In the present context of digital imaging technology and the evolving impact of artificial intelligence and augmented reality, the boundaries of the photographic image are being constantly challenged and extended. How does this impact on and what possibilities does this present for material photographic processes? 

Playing with the material nature of colour photographic papers, I am interested in foregrounding the material, and I see the processes as gestures which become the visual subject of the work transforming the material from object to thing.

Final MFA Degree Show (June 2019):


Developing from work presented at the interim show I have further researched and developed my understanding and engagement with the material and sourced chromogenic papers from a  wider range of manufacturers including rarer papers from lesser-known manufacturers in eastern Europe.

The work has evolved to explore specific gestures found within traditional photographic practices, particularly chemical darkroom practice.

Interim exhibition (December 2018):

Referencing the established trope of the landscape in art history expressed through the gestures of darkroom practice and revisiting the scientific roots of the birth of photography, I am exploring this thought through playful exploration. The resulting outcomes evolve through a negotiation between the controlled practice of conventional photography and the intrinsic material properties of the medium through gesture.

Further works within this research domain have developed to explore another gesture. In this series I am examining the gesture of pouring and playing with the notion of exhaustion, a characteristic which is eschewed in darkroom practice, but here becomes the subject.



Photograph of a noPhoto-graph

Photograph of a noPhoto-graph.