Mixed media, reclaimed plastic and paper

Layers accumulate, settle and become embedded within one another. Sedimented Book draws on the forms of peat, water, vegetation and geological deposits while incorporating reclaimed plastic as a persistent human-made material.

This handcrafted tunnel book structure creates a contained landscape in which organic and synthetic forms become difficult to separate. Rather than representing a specific place, the work evokes a process of gradual accumulation—where traces of human consumption become part of the environment.

Photogram on photographic paper

Photograms explores the material qualities of plastic through direct contact with light-sensitive photographic paper. Without the use of a conventional camera, the plastic becomes both subject and image-making tool, leaving behind traces of its folds, creases, transparency and surface texture.

The resulting image transforms an everyday synthetic material into an ambiguous, almost organic landscape. Layers of translucent plastic create areas of light, shadow and distortion, while the repeated linear patterns resemble water, vegetation, geological formations or sediment. The material becomes difficult to identify, encouraging the viewer to question what they are seeing.

By removing the plastic from its familiar context and translating it directly into a photographic image, the work draws attention to its physical presence and persistence. The photogram therefore becomes an exploration of material transformation, visibility and ecological entanglement, reflecting the way human-made materials can become embedded within natural environments.

Mixed media / Scanes printed on paper

Scans presents a dark, highly abstracted surface in which glossy, distorted forms appear to move vertically across the image. The reflective textures resemble folds, membranes, water, peat, or fragmented organic matter, while subtle traces of colour emerge from the predominantly black surface. The image deliberately resists an immediate reading, making it difficult to determine where natural forms end and synthetic materials begin. 

The scanning process transforms the material into something unfamiliar. Rather than documenting the wetland as a recognisable landscape, the scan isolates its textures and material qualities, encouraging the closer view. The distortion produced through the process creates a sense of movement and instability, suggesting an environment that is continually changing.

The dark surface can also evoke the depth and opacity of peatland environments, while the reflective areas suggest the presence of plastic or other manufactured materials. These elements become visually entangled, challenging the distinction between organic and artificial matter. What initially appears to be a purely abstract image gradually reveals traces of material relationships between the wetland and human consumption.

Peepshow box, mirrors, plastic and light

This peepshow box creates a small, enclosed stage in which a fragment of plastic becomes the central figure. Mirrors are used to multiply and extend the interior space, creating the illusion of a larger environment within the confined structure. Viewed through the small opening, the plastic takes on a presence that is both familiar and unfamiliar, becoming almost theatrical in its presentation.

The work plays with the conventions of the peepshow: an intimate space designed to invite curiosity and encourage looking into something hidden. Here, however, the subject is not a spectacle but an everyday synthetic material. By placing plastic at the centre of the stage, the work shifts attention towards a material that is often overlooked once discarded.

The enclosed environment also reflects the way plastic can become embedded within natural spaces. Through reflection, light and repetition, the material appears to occupy a landscape of its own, questioning the distinction between natural environment, constructed space and manufactured matter.

Mixed media / photographic projection

This magic lantern projection explores the relationship between visibility, memory and material transformation. The projected image appears soft, fragmented and partially obscured, making the forms difficult to identify. Organic and synthetic shapes seem to overlap, creating an uncertain landscape between the recognisable and the abstract.

The use of projection introduces a sense of impermanence. Unlike a fixed photographic image, the work exists through light, creating an image that appears almost suspended within the darkness. This reflects the way environmental changes within wetland ecosystems can be gradual, difficult to perceive and easily overlooked.

Rather than providing a direct representation of a wetland, the projection creates an atmosphere in which natural forms and human-made materials become visually entangled.