About
Photography makes one conscious of beauty everywhere, even in the simplest things, even in what is often considered commonplace or ugly. Yet nothing is really 'ordinary’, for every fragment of the world is crowned with wonder and mystery, and a great and surprising beauty.
- Alvin Langdon Coburn
I love mistakes in photography. Sometimes they work.
- Robert Frank
- Alvin Langdon Coburn
I love mistakes in photography. Sometimes they work.
- Robert Frank
I’m drawn to the slower rhythm of analogue photography - the quiet discipline it requires and the mystery of delayed results. Without the instant feedback of digital, the process becomes meditative, forcing me to pause, observe, and be fully present. Each frame is a considered moment, shaped as much by the waiting as by the image itself.
Inspired by the early 20th-century Photo-Secessionists, I create images that are soft, dreamlike, and emotionally resonant. I work with a range of vintage and modified cameras, including simple plastic models with fixed settings. There’s something magical about coaxing beauty from the most basic tools.
I also experiment with expired film, often letting it degrade further before developing. I took a long break from processing my film, and my current project revisits images taken from 2012 onwards during travels in China and Hong Kong, shot entirely on expired, unrefrigerated film that has been waiting in the dark for over a decade.
Background
In London in the early 1990s, years before I seriously picked up a camera, I was the drummer in a riot grrrl band called Hissyfit, part of the vibrant third-wave feminist music scene at the time. Concurrently, I produced a short-lived fanzine that explored alternative youth culture, music, identity and feminist issues. Copies of my fanzine are now held in the archives of the V&A National Art Library, Glasgow Women’s Library, University of the Arts London (UAL) and Riot Grrrl Press in Washington, D.C., preserving a small but significant part of the UK's riot grrrl, feminist and DIY publishing history.
Although photography might seem far removed from my earlier creative life, the connection feels natural. The same DIY ethos, curiosity, and commitment to documenting an underrepresented subculture that shaped my involvement in the riot grrrl movement continue to influence my photography today. Whether through a camera lens or a photocopied fanzine, I have always been drawn to exploring memory, identity, and emotion through imperfect, handmade processes.
Grey Wings exhibited at Park Plaza Westminster Bridge, London
Inspired by the early 20th-century Photo-Secessionists, I create images that are soft, dreamlike, and emotionally resonant. I work with a range of vintage and modified cameras, including simple plastic models with fixed settings. There’s something magical about coaxing beauty from the most basic tools.
I also experiment with expired film, often letting it degrade further before developing. I took a long break from processing my film, and my current project revisits images taken from 2012 onwards during travels in China and Hong Kong, shot entirely on expired, unrefrigerated film that has been waiting in the dark for over a decade.
Background
In London in the early 1990s, years before I seriously picked up a camera, I was the drummer in a riot grrrl band called Hissyfit, part of the vibrant third-wave feminist music scene at the time. Concurrently, I produced a short-lived fanzine that explored alternative youth culture, music, identity and feminist issues. Copies of my fanzine are now held in the archives of the V&A National Art Library, Glasgow Women’s Library, University of the Arts London (UAL) and Riot Grrrl Press in Washington, D.C., preserving a small but significant part of the UK's riot grrrl, feminist and DIY publishing history.
Although photography might seem far removed from my earlier creative life, the connection feels natural. The same DIY ethos, curiosity, and commitment to documenting an underrepresented subculture that shaped my involvement in the riot grrrl movement continue to influence my photography today. Whether through a camera lens or a photocopied fanzine, I have always been drawn to exploring memory, identity, and emotion through imperfect, handmade processes.