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  k , 2017   Colours from Black  was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from  Waves of Fear . Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from  Waves of Fear,  these images   identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again.   Unique Chromogenic print on Kodak Endura Paper (Gloss)  128 x 96 cm

k, 2017

Colours from Black was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from Waves of Fear. Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from Waves of Fear, these images identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again. 

Unique Chromogenic print on Kodak Endura Paper (Gloss)

128 x 96 cm

  ʞ , 2017   Colours from Black  was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from  Waves of Fear . Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from  Waves of Fear,  these images   identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again.   Unique Chromogenic print on Kodak Endura Paper (Gloss)  128 x 96 cm

ʞ, 2017

Colours from Black was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from Waves of Fear. Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from Waves of Fear, these images identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again. 

Unique Chromogenic print on Kodak Endura Paper (Gloss)

128 x 96 cm

  taog , 2017   Colours from Black  was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from  Waves of Fear . Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from  Waves of Fear,  these images   identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again.   Unique Chromogenic print on Kodak Endura Paper (Gloss)  128 x 89 cm

taog, 2017

Colours from Black was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from Waves of Fear. Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from Waves of Fear, these images identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again. 

Unique Chromogenic print on Kodak Endura Paper (Gloss)

128 x 89 cm

  ZAY79ONUERRE , 2017   Colours from Black  was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from  Waves of Fear . Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from  Waves of Fear,  these images   identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again.   Unique Chromogenic print on Kodak Endura Paper (Gloss)  157 x 130 cm

ZAY79ONUERRE, 2017

Colours from Black was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from Waves of Fear. Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from Waves of Fear, these images identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again. 

Unique Chromogenic print on Kodak Endura Paper (Gloss)

157 x 130 cm

  tnedicca yppah , 2017   Colours from Black  was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from  Waves of Fear . Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from  Waves of Fear,  these images   identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again.   Unique Chromogenic print on Kodak Endura Paper (Gloss)  162 x 133 cm

tnedicca yppah, 2017

Colours from Black was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from Waves of Fear. Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from Waves of Fear, these images identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again. 

Unique Chromogenic print on Kodak Endura Paper (Gloss)

162 x 133 cm

  lenahC 89 , 2017   Colours from Black  was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from  Waves of Fear . Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from  Waves of Fear,  these images   identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again.   Unique Chromogenic print on Kodak Endura Paper (Gloss)  145 x 129 cm

lenahC 89, 2017

Colours from Black was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from Waves of Fear. Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from Waves of Fear, these images identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again. 

Unique Chromogenic print on Kodak Endura Paper (Gloss)

145 x 129 cm

  omagarreF .S siK 89 , 2017   Colours from Black  was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from  Waves of Fear . Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from  Waves of Fear,  these images   identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again.   Unique Chromogenic print on Kodak Endura Paper (Gloss)  145 x 129 cm

omagarreF .S siK 89, 2017

Colours from Black was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from Waves of Fear. Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from Waves of Fear, these images identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again. 

Unique Chromogenic print on Kodak Endura Paper (Gloss)

145 x 129 cm

  tnirpffo,  2017   Colours from Black  was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from  Waves of Fear . Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from  Waves of Fear,  these images   identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again.   Unique Chromogenic print on Kodak Endura Paper (Gloss)  149 x 112 cm

tnirpffo, 2017

Colours from Black was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from Waves of Fear. Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from Waves of Fear, these images identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again. 

Unique Chromogenic print on Kodak Endura Paper (Gloss)

149 x 112 cm

  Untitled I & II,  2017   Colours from Black  was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from  Waves of Fear . Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from  Waves of Fear,  these images   identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again.   Unique Chromogenic print on Fujiflex Crystal Archive  87 x 64 cm

Untitled I & II, 2017

Colours from Black was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from Waves of Fear. Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from Waves of Fear, these images identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again. 

Unique Chromogenic print on Fujiflex Crystal Archive

87 x 64 cm

k, 2017

Colours from Black was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from Waves of Fear. Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from Waves of Fear, these images identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again. 

Unique Chromogenic print on Kodak Endura Paper (Gloss)

128 x 96 cm

ʞ, 2017

Colours from Black was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from Waves of Fear. Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from Waves of Fear, these images identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again. 

Unique Chromogenic print on Kodak Endura Paper (Gloss)

128 x 96 cm

taog, 2017

Colours from Black was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from Waves of Fear. Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from Waves of Fear, these images identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again. 

Unique Chromogenic print on Kodak Endura Paper (Gloss)

128 x 89 cm

ZAY79ONUERRE, 2017

Colours from Black was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from Waves of Fear. Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from Waves of Fear, these images identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again. 

Unique Chromogenic print on Kodak Endura Paper (Gloss)

157 x 130 cm

tnedicca yppah, 2017

Colours from Black was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from Waves of Fear. Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from Waves of Fear, these images identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again. 

Unique Chromogenic print on Kodak Endura Paper (Gloss)

162 x 133 cm

lenahC 89, 2017

Colours from Black was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from Waves of Fear. Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from Waves of Fear, these images identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again. 

Unique Chromogenic print on Kodak Endura Paper (Gloss)

145 x 129 cm

omagarreF .S siK 89, 2017

Colours from Black was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from Waves of Fear. Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from Waves of Fear, these images identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again. 

Unique Chromogenic print on Kodak Endura Paper (Gloss)

145 x 129 cm

tnirpffo, 2017

Colours from Black was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from Waves of Fear. Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from Waves of Fear, these images identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again. 

Unique Chromogenic print on Kodak Endura Paper (Gloss)

149 x 112 cm

Untitled I & II, 2017

Colours from Black was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from Waves of Fear. Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from Waves of Fear, these images identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again. 

Unique Chromogenic print on Fujiflex Crystal Archive

87 x 64 cm

  k , 2017   Colours from Black  was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from  Waves of Fear . Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from  Waves of Fear,  these images   identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again.   Unique Chromogenic print on Kodak Endura Paper (Gloss)  128 x 96 cm
  ʞ , 2017   Colours from Black  was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from  Waves of Fear . Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from  Waves of Fear,  these images   identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again.   Unique Chromogenic print on Kodak Endura Paper (Gloss)  128 x 96 cm
  taog , 2017   Colours from Black  was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from  Waves of Fear . Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from  Waves of Fear,  these images   identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again.   Unique Chromogenic print on Kodak Endura Paper (Gloss)  128 x 89 cm
  ZAY79ONUERRE , 2017   Colours from Black  was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from  Waves of Fear . Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from  Waves of Fear,  these images   identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again.   Unique Chromogenic print on Kodak Endura Paper (Gloss)  157 x 130 cm
  tnedicca yppah , 2017   Colours from Black  was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from  Waves of Fear . Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from  Waves of Fear,  these images   identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again.   Unique Chromogenic print on Kodak Endura Paper (Gloss)  162 x 133 cm
  lenahC 89 , 2017   Colours from Black  was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from  Waves of Fear . Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from  Waves of Fear,  these images   identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again.   Unique Chromogenic print on Kodak Endura Paper (Gloss)  145 x 129 cm
  omagarreF .S siK 89 , 2017   Colours from Black  was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from  Waves of Fear . Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from  Waves of Fear,  these images   identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again.   Unique Chromogenic print on Kodak Endura Paper (Gloss)  145 x 129 cm
  tnirpffo,  2017   Colours from Black  was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from  Waves of Fear . Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from  Waves of Fear,  these images   identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again.   Unique Chromogenic print on Kodak Endura Paper (Gloss)  149 x 112 cm
  Untitled I & II,  2017   Colours from Black  was conceptualised partly through listening to the music of Miles Davis and partly as a continuation from  Waves of Fear . Using a similar disintegration process as before, layers of chemicals are stripped away from the overexposed prints and introduced to shifts in colour (once the emulsion begins to lift off). The resulting abstractions unfold through a process of reduction, and furthermore highlight the volatility and complexity of the photographic material. Proceeding from  Waves of Fear,  these images   identify the underlying presence of a larger colour spectrum beneath an initial surface layer of black. This body of work expands on the topic of opening space for a closed field to be made visible again.   Unique Chromogenic print on Fujiflex Crystal Archive  87 x 64 cm