Grounded in semiotics and phenomenology, my practice uses photography and printmaking to examine human perception and expand sensory experience. My work began with an early investigation into visual and sensory perception, a theoretical grounding that drives my approach to image-making as an act of physical experimentation. This exploration of embodied perception and the poetics of space was developed through extensive travel documenting remote parts of the world.
Later, my understanding of visual structure and atmosphere was deepened by a study of Australian Tonalism painting with Don James at Montsalvat. This shapes my current focus on the deep materiality and tactile tones of hand-inked photogravure, utilizing the printing process to establish a direct connection to physical substance. I use the tactile gesture of the press to contemplate time, history, and memory, translating natural forms and textures into highly focused tonal studies. Through these layered practices, I navigate the space between storytelling and a release from traditional meaning-making, ultimately seeking to restore intuition through our perception of the natural world.
