......................................................................................................................................................................................................................
  k , 2017   Colours from Black  is a body of work that sits somewhere along the artist’s production timeline of  The Kodak Paper Factory  (2017), with some of the pieces having also been used in the making of  Waves of Fear  (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.  Unique Chromogenic print on Kodak Endura Paper (Gloss)  128 x 96 cm

k, 2017

Colours from Black is a body of work that sits somewhere along the artist’s production timeline of The Kodak Paper Factory (2017), with some of the pieces having also been used in the making of Waves of Fear (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.

Unique Chromogenic print on Kodak Endura Paper (Gloss)

128 x 96 cm

  ʞ , 2017   Colours from Black  is a body of work that sits somewhere along the artist’s production timeline of  The Kodak Paper Factory  (2017), with some of the pieces having also been used in the making of  Waves of Fear  (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.  Unique Chromogenic print on Kodak Endura Paper (Gloss)  128 x 96 cm

ʞ, 2017

Colours from Black is a body of work that sits somewhere along the artist’s production timeline of The Kodak Paper Factory (2017), with some of the pieces having also been used in the making of Waves of Fear (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.

Unique Chromogenic print on Kodak Endura Paper (Gloss)

128 x 96 cm

  taog , 2017   Colours from Black  is a body of work that sits somewhere along the artist’s production timeline of  The Kodak Paper Factory  (2017), with some of the pieces having also been used in the making of  Waves of Fear  (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.  Unique Chromogenic print on Kodak Endura Paper (Gloss)  128 x 89 cm

taog, 2017

Colours from Black is a body of work that sits somewhere along the artist’s production timeline of The Kodak Paper Factory (2017), with some of the pieces having also been used in the making of Waves of Fear (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.

Unique Chromogenic print on Kodak Endura Paper (Gloss)

128 x 89 cm

  ZAY79ONUERRE , 2017   Colours from Black  is a body of work that sits somewhere along the artist’s production timeline of  The Kodak Paper Factory  (2017), with some of the pieces having also been used in the making of  Waves of Fear  (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.  Unique Chromogenic print on Kodak Endura Paper (Gloss)  157 x 130 cm

ZAY79ONUERRE, 2017

Colours from Black is a body of work that sits somewhere along the artist’s production timeline of The Kodak Paper Factory (2017), with some of the pieces having also been used in the making of Waves of Fear (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.

Unique Chromogenic print on Kodak Endura Paper (Gloss)

157 x 130 cm

  tnedicca yppah , 2017   Colours from Black  is a body of work that sits somewhere along the artist’s production timeline of  The Kodak Paper Factory  (2017), with some of the pieces having also been used in the making of  Waves of Fear  (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.  Unique Chromogenic print on Kodak Endura Paper (Gloss)  162 x 133 cm

tnedicca yppah, 2017

Colours from Black is a body of work that sits somewhere along the artist’s production timeline of The Kodak Paper Factory (2017), with some of the pieces having also been used in the making of Waves of Fear (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.

Unique Chromogenic print on Kodak Endura Paper (Gloss)

162 x 133 cm

  lenahC 89 , 2017   Colours from Black  is a body of work that sits somewhere along the artist’s production timeline of  The Kodak Paper Factory  (2017), with some of the pieces having also been used in the making of  Waves of Fear  (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.  Unique Chromogenic print on Kodak Endura Paper (Gloss)  145 x 129 cm

lenahC 89, 2017

Colours from Black is a body of work that sits somewhere along the artist’s production timeline of The Kodak Paper Factory (2017), with some of the pieces having also been used in the making of Waves of Fear (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.

Unique Chromogenic print on Kodak Endura Paper (Gloss)

145 x 129 cm

  omagarreF .S siK 89 , 2017   Colours from Black  is a body of work that sits somewhere along the artist’s production timeline of  The Kodak Paper Factory  (2017), with some of the pieces having also been used in the making of  Waves of Fear  (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.  Unique Chromogenic print on Kodak Endura Paper (Gloss)  145 x 129 cm

omagarreF .S siK 89, 2017

Colours from Black is a body of work that sits somewhere along the artist’s production timeline of The Kodak Paper Factory (2017), with some of the pieces having also been used in the making of Waves of Fear (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.

Unique Chromogenic print on Kodak Endura Paper (Gloss)

145 x 129 cm

  tnirpffo,  2017   Colours from Black  is a body of work that sits somewhere along the artist’s production timeline of  The Kodak Paper Factory  (2017), with some of the pieces having also been used in the making of  Waves of Fear  (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.  Unique Chromogenic print on Kodak Endura Paper (Gloss)  149 x 112 cm

tnirpffo, 2017

Colours from Black is a body of work that sits somewhere along the artist’s production timeline of The Kodak Paper Factory (2017), with some of the pieces having also been used in the making of Waves of Fear (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.

Unique Chromogenic print on Kodak Endura Paper (Gloss)

149 x 112 cm

  Untitled I & II,  2017   Colours from Black  is a body of work that sits somewhere along the artist’s production timeline of  The Kodak Paper Factory  (2017), with some of the pieces having also been used in the making of  Waves of Fear  (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.  Unique Chromogenic print on Fujiflex Crystal Archive  87 x 64 cm

Untitled I & II, 2017

Colours from Black is a body of work that sits somewhere along the artist’s production timeline of The Kodak Paper Factory (2017), with some of the pieces having also been used in the making of Waves of Fear (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.

Unique Chromogenic print on Fujiflex Crystal Archive

87 x 64 cm

k, 2017

Colours from Black is a body of work that sits somewhere along the artist’s production timeline of The Kodak Paper Factory (2017), with some of the pieces having also been used in the making of Waves of Fear (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.

Unique Chromogenic print on Kodak Endura Paper (Gloss)

128 x 96 cm

ʞ, 2017

Colours from Black is a body of work that sits somewhere along the artist’s production timeline of The Kodak Paper Factory (2017), with some of the pieces having also been used in the making of Waves of Fear (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.

Unique Chromogenic print on Kodak Endura Paper (Gloss)

128 x 96 cm

taog, 2017

Colours from Black is a body of work that sits somewhere along the artist’s production timeline of The Kodak Paper Factory (2017), with some of the pieces having also been used in the making of Waves of Fear (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.

Unique Chromogenic print on Kodak Endura Paper (Gloss)

128 x 89 cm

ZAY79ONUERRE, 2017

Colours from Black is a body of work that sits somewhere along the artist’s production timeline of The Kodak Paper Factory (2017), with some of the pieces having also been used in the making of Waves of Fear (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.

Unique Chromogenic print on Kodak Endura Paper (Gloss)

157 x 130 cm

tnedicca yppah, 2017

Colours from Black is a body of work that sits somewhere along the artist’s production timeline of The Kodak Paper Factory (2017), with some of the pieces having also been used in the making of Waves of Fear (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.

Unique Chromogenic print on Kodak Endura Paper (Gloss)

162 x 133 cm

lenahC 89, 2017

Colours from Black is a body of work that sits somewhere along the artist’s production timeline of The Kodak Paper Factory (2017), with some of the pieces having also been used in the making of Waves of Fear (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.

Unique Chromogenic print on Kodak Endura Paper (Gloss)

145 x 129 cm

omagarreF .S siK 89, 2017

Colours from Black is a body of work that sits somewhere along the artist’s production timeline of The Kodak Paper Factory (2017), with some of the pieces having also been used in the making of Waves of Fear (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.

Unique Chromogenic print on Kodak Endura Paper (Gloss)

145 x 129 cm

tnirpffo, 2017

Colours from Black is a body of work that sits somewhere along the artist’s production timeline of The Kodak Paper Factory (2017), with some of the pieces having also been used in the making of Waves of Fear (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.

Unique Chromogenic print on Kodak Endura Paper (Gloss)

149 x 112 cm

Untitled I & II, 2017

Colours from Black is a body of work that sits somewhere along the artist’s production timeline of The Kodak Paper Factory (2017), with some of the pieces having also been used in the making of Waves of Fear (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.

Unique Chromogenic print on Fujiflex Crystal Archive

87 x 64 cm

  k , 2017   Colours from Black  is a body of work that sits somewhere along the artist’s production timeline of  The Kodak Paper Factory  (2017), with some of the pieces having also been used in the making of  Waves of Fear  (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.  Unique Chromogenic print on Kodak Endura Paper (Gloss)  128 x 96 cm
  ʞ , 2017   Colours from Black  is a body of work that sits somewhere along the artist’s production timeline of  The Kodak Paper Factory  (2017), with some of the pieces having also been used in the making of  Waves of Fear  (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.  Unique Chromogenic print on Kodak Endura Paper (Gloss)  128 x 96 cm
  taog , 2017   Colours from Black  is a body of work that sits somewhere along the artist’s production timeline of  The Kodak Paper Factory  (2017), with some of the pieces having also been used in the making of  Waves of Fear  (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.  Unique Chromogenic print on Kodak Endura Paper (Gloss)  128 x 89 cm
  ZAY79ONUERRE , 2017   Colours from Black  is a body of work that sits somewhere along the artist’s production timeline of  The Kodak Paper Factory  (2017), with some of the pieces having also been used in the making of  Waves of Fear  (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.  Unique Chromogenic print on Kodak Endura Paper (Gloss)  157 x 130 cm
  tnedicca yppah , 2017   Colours from Black  is a body of work that sits somewhere along the artist’s production timeline of  The Kodak Paper Factory  (2017), with some of the pieces having also been used in the making of  Waves of Fear  (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.  Unique Chromogenic print on Kodak Endura Paper (Gloss)  162 x 133 cm
  lenahC 89 , 2017   Colours from Black  is a body of work that sits somewhere along the artist’s production timeline of  The Kodak Paper Factory  (2017), with some of the pieces having also been used in the making of  Waves of Fear  (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.  Unique Chromogenic print on Kodak Endura Paper (Gloss)  145 x 129 cm
  omagarreF .S siK 89 , 2017   Colours from Black  is a body of work that sits somewhere along the artist’s production timeline of  The Kodak Paper Factory  (2017), with some of the pieces having also been used in the making of  Waves of Fear  (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.  Unique Chromogenic print on Kodak Endura Paper (Gloss)  145 x 129 cm
  tnirpffo,  2017   Colours from Black  is a body of work that sits somewhere along the artist’s production timeline of  The Kodak Paper Factory  (2017), with some of the pieces having also been used in the making of  Waves of Fear  (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.  Unique Chromogenic print on Kodak Endura Paper (Gloss)  149 x 112 cm
  Untitled I & II,  2017   Colours from Black  is a body of work that sits somewhere along the artist’s production timeline of  The Kodak Paper Factory  (2017), with some of the pieces having also been used in the making of  Waves of Fear  (2017). Using the same disintegration process as before, layers of chemicals are stripped away from overexposed prints. The resulting abstractions formed in the ruins of peeled and rotten emulsion, subsequently reveal an underlying presence of colour. Some of the collisions between these layers furthermore lead to pockets of colour spectrums, alluding to a reverse-glass prism effect (white light turned negative). With the aim of lending the end product to chance, and merely facilitating this closed field to be made visible, the abstractions fundamentally make themselves over, generally, a month-long period. The complexities of these photographic materials are foregrounded, and serve predominantly to recognise their integrity as they slowly fade into obsolescence.  Unique Chromogenic print on Fujiflex Crystal Archive  87 x 64 cm