1. One Photograph, since 2025
Over the past year, I have realised that these works are connected by something much simpler than I first imagined. They all begin with a single photograph. Rather than producing new source images, I return repeatedly to the same photograph and place it within changing conditions. Each encounter generates another way of seeing, another material state, or another relationship between the photograph and its environment.
This has gradually become the underlying method connecting the four bodies of work. Each explores a different possibility contained within a single photographic image, asking how far an image can transform without being replaced.
In Until It Ends, the photograph remains materially unchanged while repeated encounters alter its perception. Light, shadow, distance, weather and surrounding vegetation continually shift the way the image is experienced.
In While It Floats, the photograph is placed onto water. Reflection, refraction, movement and changing viewpoints continually produce new versions of the same image.
In After the Image, the original photograph is turned over. The image withdraws completely, leaving only the supporting structures of the print. Shadows, overlapping edges and surrounding vegetation generate another image in which the original photograph is no longer visible.
In What Remains, the photograph becomes a physical object. Photographic prints from Until It Ends are immersed in water over extended periods, allowing the material surface of the print itself to change. The resulting fields remain permanently open: individual prints can be removed, returned to the water, replaced or rearranged. Here, the work continues through material transformation.
Together, these works ask what happens when the source image is not replaced but revisited; when transformation emerges not from producing another image, but from altering the conditions under which the image exists.
Looking back, I realise that One Photograph is less a title than a working principle. What first appeared to be a limitation has become a way of opening the work. By returning to a single photograph, I have been able to investigate photography itself: its materiality, perception, duration, environment and structure.
This has gradually become the underlying method connecting the four bodies of work. Each explores a different possibility contained within a single photographic image, asking how far an image can transform without being replaced.
In Until It Ends, the photograph remains materially unchanged while repeated encounters alter its perception. Light, shadow, distance, weather and surrounding vegetation continually shift the way the image is experienced.
In While It Floats, the photograph is placed onto water. Reflection, refraction, movement and changing viewpoints continually produce new versions of the same image.
In After the Image, the original photograph is turned over. The image withdraws completely, leaving only the supporting structures of the print. Shadows, overlapping edges and surrounding vegetation generate another image in which the original photograph is no longer visible.
In What Remains, the photograph becomes a physical object. Photographic prints from Until It Ends are immersed in water over extended periods, allowing the material surface of the print itself to change. The resulting fields remain permanently open: individual prints can be removed, returned to the water, replaced or rearranged. Here, the work continues through material transformation.
Together, these works ask what happens when the source image is not replaced but revisited; when transformation emerges not from producing another image, but from altering the conditions under which the image exists.
Looking back, I realise that One Photograph is less a title than a working principle. What first appeared to be a limitation has become a way of opening the work. By returning to a single photograph, I have been able to investigate photography itself: its materiality, perception, duration, environment and structure.