Working with both traditional and digital photographic processes, this series explores how memory and nostalgia operate within the present moment, reflecting on the transient and temporal nature of life.
One Hundred and Forty Four began as an experimental activity in the darkroom, where mark-making became a means of communication and interaction between artist and viewer. The repetition and reconstruction of images evoke the processes of remembering and forgetting, mirroring how memory continually reconfigures itself through time.
Inspired by the interplay between memory and photography, the work investigates replication, rhythm, and reinvention, processes that generate a form of nostalgic realism that feels both illusory and quietly magical. The grid structure and viewing lens invite close inspection, yet the layered composition resists full clarity, reflecting the way memory simultaneously reveals and conceals.
The photographs are unique objects, created by exposing photographic paper multiple times in the darkroom using a hand-cut template. Each section of the image is exposed separately at different times, resulting in subtle variations of tone and texture. Every fragment tells its own story and holds its own life within the composition. The process is slow and deliberate with each print taking up to four hours to complete, allowing for quiet reflection on time, labour and the act of making. When viewed closely, under magnification, they invite close inspection into a new photographic space, while also reinforcing the distance between viewer and subject
