cyanotype prints on abaca paper, archival silver bromide prints, archival copper nails

indefinite possibilities This work speaks to the hope placed on technical development in the 1940’s and 50’s. Reflecting on this through the lens of the climate emergency, I use damaged archival prints of forests to disrupt romanticised technical photographs, centring the long unseen environmental pollution resulting from the industrialisation of photography at this time.

My process of working with labour and time-intensive processes, such as rosemary-toned cyanotype prints, allows me to push against the pro-capitalist context entangled with photography’s industrialisation.