SYMBIOSIS II
Four Corners Gallery, 121 Roman Road, Bethnal Green, London, E2 0QN 15 - 18 May 2024
SYMBIOSIS I
Hundred Years Gallery, 13 Pearson St, London E2 8JD. 18 - 27 January 2024.
Both exhibitions explored the relationship between image makers, the more-than-human, and alternative process photography, posing such questions as
Both exhibitions were organised by @londonaltphoto and curated by @hayley_harrison_ @melaniekatking & @kylewis1
SYMBIOSIS II
'Garden Study1 & 2’ 2024
33 x 43.5 x 4 cm wall-mounted light boxes x 2
Both these works show 5" x 7“ hand-coated recycled glass dry plates, that were shot using an 1880 Watson Acme large-format camera. This camera was handcrafted during the time of the plant hunters and enabled photographers to go ‘out in the field’ collecting new footage as well as plants. The image has been developed using food waste. Once used this is reinvested into my garden as fertiliser and enables an ongoingness to take place. Using a light box to display the work highlights the irregularities and marks of making including text which relates to the making as well as the conditions when the photo was taken. They celebrate the value of collaboration with living materials.
SYMBIOSIS I
‘Anenome 4’ 2023
42 x 42 x 4 cm box frame
Waste packaging pinned prints
‘Anenome 4’ is a 4-piece print made during a residency at the Chelsea Physic Garden in London. I used waste items such as compost for the developer, recycled glass to make dry slides and food packaging as an alternative printing substrate. Working slowly and patiently with vegetal matter, alongside the seasons requires a huge amount of collaboration and presence. It has enabled me to create a different way of image-making that isn’t purely representational but continues to provide a more grounded, intrinsic understanding and connection to a wider landscape.
Four Corners Gallery, 121 Roman Road, Bethnal Green, London, E2 0QN 15 - 18 May 2024
SYMBIOSIS I
Hundred Years Gallery, 13 Pearson St, London E2 8JD. 18 - 27 January 2024.
Both exhibitions explored the relationship between image makers, the more-than-human, and alternative process photography, posing such questions as
- ‘What are the connections between symbiosis and alternative photography?
- ‘Is nature a collaborator or a commodity in alternative photography processes’?
- 'What does it mean to be in relationship with a landscape or a plant for extended periods – to witness the interplay between individual species within their ecosystems? What is the role of artistic testimony when witnessing symbiosis within these relationships?
- 'How do we bear witness to symbiotic relationships between different species, alongside our responsibility to acknowledge that the true definition of symbiosis is both parasitic and mutualistic? Much like alternative photographic processes, balance and equilibrium are essential to symbiosis.
Both exhibitions were organised by @londonaltphoto and curated by @hayley_harrison_ @melaniekatking & @kylewis1
SYMBIOSIS II
'Garden Study1 & 2’ 2024
33 x 43.5 x 4 cm wall-mounted light boxes x 2
Both these works show 5" x 7“ hand-coated recycled glass dry plates, that were shot using an 1880 Watson Acme large-format camera. This camera was handcrafted during the time of the plant hunters and enabled photographers to go ‘out in the field’ collecting new footage as well as plants. The image has been developed using food waste. Once used this is reinvested into my garden as fertiliser and enables an ongoingness to take place. Using a light box to display the work highlights the irregularities and marks of making including text which relates to the making as well as the conditions when the photo was taken. They celebrate the value of collaboration with living materials.
SYMBIOSIS I
‘Anenome 4’ 2023
42 x 42 x 4 cm box frame
Waste packaging pinned prints
‘Anenome 4’ is a 4-piece print made during a residency at the Chelsea Physic Garden in London. I used waste items such as compost for the developer, recycled glass to make dry slides and food packaging as an alternative printing substrate. Working slowly and patiently with vegetal matter, alongside the seasons requires a huge amount of collaboration and presence. It has enabled me to create a different way of image-making that isn’t purely representational but continues to provide a more grounded, intrinsic understanding and connection to a wider landscape.