My work investigates the threshold between presence and absence.

I work where visibility is conditional: polar coastlines where snow and mist flatten the world to a single tonal field, still water where reflections hold more substance than their sources, intertidal zones redistributed twice daily by the tide. The place itself governs what becomes visible.

Monochrome is the working method. It removes context and holds only tonal structure, so that the moment form separates from field — or returns to it — becomes the subject. Long exposures gather duration into a single frame, holding what usually passes too slowly to be seen.

Most of the work sits at the edge of perception, where what is present has to be found before it can be seen.

I grew up on the Cornish coast, where the shoreline is never twice the same line. The work has never left that edge.