Material Practice

My material practice is rooted in analogue photography, historical photographic processes and experimental approaches to image-making. I am interested in photography not only as an image, but as a physical object shaped by light, chemistry, paper, time and touch.Working with processes such as salt printing, large format photography and hand-coated papers, I explore the relationship between image, material and memory. These slower methods create space for uncertainty, attention and physical engagement with the photographic surface.

Salt Printing

Salt printing is central to my current practice. The process allows me to work with photography as something tactile, fragile and time-based, where each print carries the trace of its own making.Through hand-coating paper, preparing negatives, testing exposure times and observing chemical shifts, I work with the process as both a technical method and a form of material research. The unpredictability of the print, the texture of the paper and the visible evidence of hand-making are important to how I think about memory, preservation and the photograph as an object.

Large Format Photography

Large format photography allows me to work slowly and deliberately. Using a 4×5 analogue camera, the act of making a photograph becomes an encounter between photographer, sitter, camera and time.The pace of the process changes the relationship between image-maker and subject. It creates space for conversation, stillness, attention and trust before the exposure is made. This way of working informs my interest in presence, portraiture, memory and the emotional exchange that happens during the photographic act.

Historical Photographic Processes

My interest in historical photographic processes comes from their connection to time, labour and material transformation. These methods require the image to be made through direct physical engagement with light-sensitive materials, rather than produced instantly.Working with older processes allows me to think about photography as a living practice, one that carries histories of experimentation, failure, repair and discovery. It also connects my work to questions of preservation, archive, ecological awareness and the handmade photographic object.

Material Experiments

Experimentation is an important part of my practice. I work with test strips, paper samples, coating methods, exposure variations, negatives, failed prints and process notes as part of the development of each body of work.These experiments are not separate from the final image. They are part of the thinking process. They allow me to understand how materials behave and how meaning can emerge through surface, tone, texture and imperfection.