Chromatograms
105 x 35 cm
2025
Woodland Interior considers landscape as a living system extending beyond what is immediately visible. The work was made at Calke Abbey: the ancient beech wood, moving to the unseen branching architecture of Silver Birch roots, and finally to chromatograms made from oak and sweet chestnut leaves and mast. Together, these elements shift the viewer from the woodland’s outward form towards its concealed material processes.
I work with methods that allow light, plant matter, moisture and chemistry to participate in image-making. The Van Dyke brown print holds the woodland in a process whose warm, unstable tonal range reflects age, decay and time. The lumen records roots, soil and the mycorrhizal network through contact and exposure and the chromatograms reveal the distinctive chemical composition of the tree, translating their material properties into layered, radial forms that echo tree rings.
This project illustrates the landscape of canopy, root, soil and trace.
Chromatograms
105 x 35 cm
2025
Woodland Interior considers landscape as a living system extending beyond what is immediately visible. The work was made at Calke Abbey: the ancient beech wood, moving to the unseen branching architecture of Silver Birch roots, and finally to chromatograms made from oak and sweet chestnut leaves and mast. Together, these elements shift the viewer from the woodland’s outward form towards its concealed material processes.
I work with methods that allow light, plant matter, moisture and chemistry to participate in image-making. The Van Dyke brown print holds the woodland in a process whose warm, unstable tonal range reflects age, decay and time. The lumen records roots, soil and the mycorrhizal network through contact and exposure and the chromatograms reveal the distinctive chemical composition of the tree, translating their material properties into layered, radial forms that echo tree rings.
This project illustrates the landscape of canopy, root, soil and trace.