This page offers a visual record of the exhibitions on this site. All of the images within these online exhibitions are my own and represent work from projects in my portfolio. The final exhibition for my PhD has its own page at The Expanded Mirror on this site.


Deep Looking (Black & White)

I am a keen collector of vernacular photography. In “Deep Looking,” I work with the idea that we see with our memory, and our memories activate the objects we see. As such, we see more than the object in front of us. We see an imaginary dream-image formed by fragments of remembered experiences that mingle with an elusive something within an object that attracts us.

I am looking for the invisible attraction in these images; the thing that makes me linger because it recalls something I do not quite remember and cannot quite articulate. I am interested in the incongruities, disruptions and disjunctions felt here, which are also important to looking, communication, and understanding. All of the images in this project point to something beyond the limits of the frame of the original, or the reframed images presented here. They are both replete with and devoid of narrative simultaneously, isolated from a frame intended to capture a moment in time for memory’s sake.

This group represents the black and white images in the portfolio. The current exhibition on the home page shows the colour images from this body of work.


The Conjugated Museum

In 2018 I was given access to The Fitzwilliam Museum Collections for a year-long research residency. Using my mobile phone, like so many other visitors to museums these days, I photographed works that ‘pulled me in’ through an intuitive act of looking.

The process of making alterations to the imagery from the Museum was never intended as ironic or to be taken as institutional critique. Instead, my purpose was to explore how seeing was transformed in real time and to understand how my own process of looking maps onto unknown cultural objects. And also, to understand how objects were being transformed by these processes. The latter was perhaps the most challenging, because these transformations would not be visible—could not be made visible; they would remain in a latent state. The fact that I created imagery exemplifying these kinds of alterations, does not mean that I actually succeeded in visualising the transformations. It only means that I created examples of what these changes might look like. Therefore, the space of these images is neither photographic nor cinematic—the space is virtual, with temporal disruptions, cascading fluid repetitions, spatial displacements and isometric geometries.

again or again and again

The present epoch will perhaps be above all the epoch of space. We are in the epoch of simultaneity: we are in the epoch of juxtaposition, the epoch of the near and far, of the side-by-side, of the dispersed. We are at a moment, I believe, when our experience of the world is less that of a long life developing through time than that of a network that connects points and intersects with its own skein.
Michel Foucault[1]

For again or again and again, I used screenshot photography to capture the imagery juxtapositions created by the Pictorico template used during the Phantom project. This situated one Pictorico blog inside another one, creating reflexive striations of replication—like one mirror reflecting another. Inserting further iterations of the screenshot imagery collapsed the image placement hierarchy within the site, where background image from the current Pictorico site was mirrored in the screenshot image of the previous Pictorico site for Phantom. This initiated a queasy uncertainty of space on the screen. Currently, the archive gallery pictured here initiates a further crossing of boundaries where one image ‘bleeds’ into the one below it creating a visual infraction against the gridded structure provided by the template.

[1] Foucault, M., 1967. Of other spaces. Translated from French by J. Miskowiec. [online] Diacritics, 16(1), Spring, 1986, pp. 22-27. Available through: Anglia Ruskin University Library [Accessed: 26 Jan 2019].



Reflex presented two different, but aligned groups of work. These are image that are not what they seem. One group are shadows cast from my mobile phone; so, images of an object capturing evidence of its own presence. The other are not images at all, but effects which create a sense of the familiar.


Echolalia was an online exhibition of a number of different approaches to reprography. Some of these works are early productions, while others are speculative in the sense that they will turn into different works than shown here by being produced through the reprographic process. This aspect of a future becoming is a significant part of my practice through the process of re-imaging that takes place within reprography. Echolalia puts the future in play by introducing images that have captivated me, but will change.