These images came out of a process that’s become central to how I work. I’ve been hand-enlarging from 35mm film, trying to bring the same kind of materiality I find in painting into photography. After enlarging, I move each print through a tube from the darkroom to the processor. During that transfer, the light slowly fogs the paper. Because of the way the print is rolled to fit into the tube, a line of exposure often appears down the center. The shifts in color come from that same slow, partial exposure to light.

Over time, this process has become less about controlling the outcome and more about being in conversation with what’s present, letting the environment intervene, letting the land participate. The idea of listening to or collaborating with the land is not new, it’s grounded in Indigenous knowledge systems and ways of being that have long understood the land as a living presence, not a resource. I’m not claiming that this work aligns with those traditions, but I am trying to approach my process with a kind of humility and openness that recognizes the land’s agency.

I’ve been working with a very specific site that’s heavily marked by extraction and this method has become a way of allowing the land to speak back, to interrupt, to shape the work in ways I couldn’t plan.