Unique unfixed lumen prints, hand-cut negatives

Further details coming soon.




Archival Pigment Prints (hand sanded with professional grade sandpaper) on Canson Infinity Rag
Print 14.5 x 14.3" on paper 18.5 x 18.3"

Edition of 1 + 1 AP signed, numbered & titled verso

Original personal snapshots (hand sanded with professional grade sandpaper)
Various sizes ranging from approx. 2.3" to approx. 4x6"

Preserving family history via photography is like archaeology: it involves the exposure, processing and recording of remains. But, to uncover the truth of an image – at least an interpretation of a truth – a hunt or dig is required.

'Excavations' explores the invisible social space of family storytelling through photography. I make c-prints of family pictures from expired Kodak film, as well as using original snapshots from the album, then carefully hand-sand them with various types of sandpaper. I aim to loosen the complexities of material encounter with intangible concepts. Mine is also a literal assault. I cross into taboo territory, the transgression and squeamish horror of destroying original personal possessions.




Archival Pigment Print on Hahnemuhle Photo Rag Ultra Smooth
Print 20 x 20" on paper 24 x 24"

Edition of 3 + 1 AP (AP NFS) signed, numbered & titled verso

One of my grandpa's most curious collections was of Kodak 126 film boxes. On the outside of each box, where Kodak had printed 'Develop Before' together with the film’s expiry date (a practice that dates from the end of the 19th century) grandpa had circled the date in red pen, as if to ensure that the snapshots he took would be revealed at their very best and 'freshest'.

There is homogeneity to how we make snapshots the world over. Grandpa's boxes have their own unique marks of age – wrinkles, scars, and bruises – things we tend to avoid in family photography. They were also never intended to be subjects of photography: boxes are simply trash – nothing of value, though to grandpa, worth something. I was compelled to photograph them using a modified Kodak Instamatic, expired photography chemicals and a scanner.




Archival Pigment Print on Canson Infinity Rag
Print 15 x 20" on paper 17 x 22"

Edition of 1 + 1 AP (AP NFS) signed, numbered & titled verso

This series is about the psychology of dress.  it references the changes of my own body (and priorities) following motherhood.  Through clothing I can change how I feel, but not who I am.

The negative space is just that - the space of my body now, variants in skin tone and texture.  In some ways I was what I wore but am no longer.  My body has become more flesh-like and abstract and there are things, physical and emotional, that no longer fit.

This work is informed by the research of Professors Hajo Adam and Adam Galinsky, whose paper 'Enclothed Cognition' discusses the systematic influence that clothes have on the wearer's psychological processes [used with kind permission].




Archival Pigment Print from damaged negative
Medium: 27.3 x 36" on paper 31.3 x 40"
Large: 42.5 x 56" on paper 44 x 57.5"

Edition of 3 + 1 AP (AP NFS) signed, numbered & titled verso

I grew up on a dairy farm in South Australia. Falling milk prices and rising maintenance costs forced my parents, under the threat of bankruptcy, to sell everything and leave in 1989. I was fourteen.

Twenty-two years later, Mum and Dad performed a collaborative 'homecoming' on my behalf. Every month for one year, they revisited our former farm, wearing on the soles of their shoes a set of negatives I had made at the farm in 2005, when I took photographs of places where they had made snapshots of me as a child. As my parents walked the farm, the negatives became abraded and imprinted with local dirt and debris. The negatives were then returned to me, some so damaged they had to be pieced together with tweezers.

This series is a movement of reclamation and transcription. Since we no longer work the land with our hands, I work it through the lens, and tread, of my parents. The dominant motive for this work is my longing for an idealized vision of home. The resulting images mythologize my holy land, an inheritance I ache for.




Archival Pigment Print on Canson Infinity Rag
Print: 6.5 x 9.3" on paper size 8.5 x 11"

Edition of 3 + 1 AP (AP NFS) signed, numbered & titled verso

Self Diagnosis is a part-photographic part-psychological study. I expose personal snapshots on the back of each of the ten inkblots from the Rorschach inkblot test, to investigate the consequences of opening myself up to visual interpretation; the exposure of items typically harbored or guarded; and the construction of truth versus fiction in the family album.




Unique personal snapshots hand cut and mounted onto Hahnemuhle Photo Rag
Paper size 17 x 22”

In this series of unique prints I reenact the family album through the deliberate DIY act of scissoring myself from personal snapshots and then realigning the hand-cut splinters. The works are more than altered souvenirs of my childhood; they are gestural, spatial re-recordings. There is preciousness to my existing in the album, which I call into question. This exercise of elimination, re-appropriation, and change gives me the chance to re-determine and redesign how my past is displayed from hereon.




Archival Digital C-Print
Medium print: 35.6 x 35.6"
Large print: 48 x 48"

Edition of 3 + 1 AP (AP NFS) signed, numbered & titled verso

The Ishihara Colour Test is the most common clinical test for color blindness. But like mirages, the circles of randomized dots are just optical phenomena. In this series I undertake quasi-scientific experiments in manipulating the intended meaning and function of family photographs. Selectively and meticulously exposing personal snapshots through the Ishihara test plates, I explore how humans search and process imagery.




Medium print: 35.6 x 48"
Large print: 48 x 64.8"

Edition of 3 + 1 AP (AP NFS) signed, numbered & titled verso

Crash marker programs in Australia aim to raise awareness of road safety by identifying where fatal and serious injury crashes have occurred. Wooden markers are fixed into the ground, and painted black or red with a symbolic reflector. In this series I investigate human inability to forget emotionally traumatic events. I reinterpret the torrent of random snapshots that pile into mind during a car accident by creating multi-layered 'memory-scapes' at different crash sites.