Archive 24

A burnt car sits in the road; a crocodile slips toward the water. These fragments form a body of work that mirrors the experience of moving through the world: disjointed, layered, and constantly reassembled through memory and feeling.

Between 2023 and 2025, I travelled extensively for work, family, and leisure. During this time, I gathered photographic material without constraint, capturing life as it unfolded. This period marked a shift in my practice. It followed the completion of an eight-year project that left me with both a deep sense of accomplishment and creative exhaustion. In response, I sought to simplify my approach.

I spent some time in the studio, but gradually began shooting more freely outdoors. I started to favour my 35mm point-and-shoot camera, alongside the large and medium formats I typically work with. While I have always worked in the darkroom, I also embraced serigraphy—a meditative process that aligned with my desire to loosen up and expand my visual library, to explore new ways of seeing. The project blends candid and staged works—sometimes straightforward, sometimes manipulated.

A burnt car sits in the road; a crocodile slips toward the water’s surface. These fragments form a body of work that mirrors the experience of moving through the world: disjointed, layered, and constantly reassembled through memory and feeling.

At times the images offer an intimate snippet of life—private and unguarded—while at other moments they address the viewer directly, with presence and reciprocity. The work moves between different ways of being with a photograph: looking, looking back, observation, and encounter.

Archive 24 began as a personal response to creative burnout. Over the past year, it has evolved into a visual archive of quiet landscapes and fleeting moments—disparate encounters drawn from everyday scenes and open-ended studio sets.