Prints

To treat the frame of a photographic work almost the same way I treat the canvas when I paint.

A painting is built in stages, over various stretches of time, in layers. Gestures, marks, interventions.

To use images as raw material, to be interpreted, as a departure point. Images altered by hand, pictures honest about the process of making and a sign of the times.

To use and at the same time question the machine. To honour the process, nurture materiality. To alter images by hand, rather than just digital means.

To do with photography what paint can not do. To do with paint what cameras and computers can't do.

To summon texture to a flat surface, to contemplate colour relationships and seek harmony. To allow colour to be free from the object. To allow myself to repeat processes until the work seems almost resolved. Never fully resolved.

To talk about the sensation of being in the landscape, rather than the representation of it. To draw from imagination as much as from the information in the image.

To add and remove, continuously responding to the work in front of me, to be open, to embrace accidents, to let work become what it wants to become. A perpetuum mobile.

To leave space for interpretation. To weave in both history and present, make a "time sandwich, like a quantum model of reality" (Paul Kneale).

To wonder about the structural nature of reality and the mechanics through which physical experience is generated. To seek beyond the material world, beyond what things look like. To stretch experiencing, and evoke pause and wonder.

To think about how humans relate to our architectural landscape and nature, and how these relationships impact life on Earth. The connection between these relationships and the relationship humans have with themselves, each other, and the unseen, the All. The interdependence of everything. The Interbeing (Charles Eisenstein).

To treat the medium as an "infinite well of water" that you can continuously draw out of "and it always gives and hydrates you". (Oscar Murillo).

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