My current work and practice employs photography as a tool, not only for remembrance, but as a method for preservation and restoration. The Affective Archive is a study around memory, mortality and transience through a series of objects and spaces which are imbued with history. The subjects come from a house I grew up in, a home passed down through twelve generations which is now falling into disrepair.

As the house and its contents begin to crumble, I attempt to breathe new life into them, reactivating the disintegrating structures and turning archaic and obsolete objects into something new. My decaying subjects have their own histories and a singular presence. My practice considers this and looks to find the right photographic techniques to preserve their spirit and character.

The images of the children’s clothes are made without a camera, placing the antique garments directly on photographic paper and exposing them to light, the skin cells and body oils of their wearers seeping into the prints. The clothes may disintegrate but the life-size photograms are more than a mere copy of the garments and are here to stay.

I work with light-painting and a 4x5 film camera, drawing into my photographs with a handheld light source, conjuring a material perception of the immaterial. Performing the forgotten spaces of the home, I suggest a spiritual dimension, tapping into the history, memory and energy of the space.

My practice is concerned with negative space, the cavity that surrounds and defines an object. Inspired by sculptor Rachel Whiteread, I look between the gaps, searching for the memory-imbued sockets of a house passed down over 300 years. The holy cross, duelling pistols and other emotionally-charged articles are deliberately missing from their boxes in my work. Witnessing the tangible absence of something can be more poignant than seeing the thing itself, triggering suppressed emotions and the unconscious mind.


THE AFFECTIVE ARCHIVE; Memory Vessels [2020]



LIGHTSCAPES; A Theatre of Memories [2019]