Drift has been shown as five solo exhibitions across the UK and has been published as an artist book (Beam Editions, 2025).

Made entirely with a collection of over 20,000 35mm photographic slides sourced from house clearances, each picture is produced by photographing slides stacked together on a light box. Time, place and memory are compressed into a single visual plane. The process references historical analogue manipulation processes dating back to the combination printing techniques of Pictorialism. But rather than the pursuance of realism, Drift instead reveals the seams of the process through its deliberate attempts to destabilise pictorial space. The two original photographs become entangled, yet immediately estranged as they vie for dominance. From within this conflict, new hallucinogenic and disorientating visual topographies emerge, suspended precariously between representation and abstraction. The work reflects on the illusory and corruptible equivalences between memory and photography, and their elastic correspondences with reality.

Informed by the sensual experience of photographic matter, I see photography’s material condition of transparency as a unique and profound visual experience. In privileging photography’s material properties instead of its representational syntax, I attempt to discover new ways to see and think with the images I use. By responding instinctively to abstract qualities that emerge through the process, the images often appear more painterly than photographic, in character.

The use of found photography enquires into the strange ambiguities of authorship. The works become uncanny sites where authorial certainty has left its post. A veneer of accumulated dust, scratches and stains embedded in each image reveals the ghostly trace of human contact, foregrounding the materiality and temporality of the medium, whilst deepening an awareness of authorial complexities.