In Darkness speaks of the making process in the colour darkroom, which happens in complete darkness. It reflects also the sense of extreme uncertainty and isolation that defined the period of time they were made in.

Each of my works are created in the darkroom using cameraless processes to distil the medium down to its fundamental elements of light, time, and light-sensitivity. Using a handmade ‘negative’, I combine the gestural mark making capabilities of painting with photography.

Painting is a major influence on my practice and I’m hugely interested in notions of medium specificity in relation to photography, painting, sculpture, and the points at which the three intersect. In self-reflexive painting, the medium is often used in a way that tests the effects that can be created by making marks on a flat surface. These marks, commonly materialising through the form of the brushstroke, are representative of painting’s indexical nature and serve not as a means of describing an external reality, rather as a documentation of the action that created it. Within my own works I seek to blur the borders between the painterly and the photographic, bringing into question the ontology of both mediums.

Despite the increased recognition of its ‘expansion’, photography is typically perceived solely as a two-dimensional, indexical representation. Its material qualities and capacity to render visible the signs of its own making are often overlooked. In turning my focus inwards and giving precedence to the process and materiality of photography, rather than to its ability to produce faithful representations of external realities, I use the medium to depict its own condition whilst exploring the slippage between different mediums.