Finding inspiration in the illustrated book, from William Morris’s Kelmscott editions to the contemporary photo book, I work with word and image. I combine digital technology, nineteenth-century photographic processes (especially cyanotype), traditional analogue photography, and tactile and organic materials such as encaustic and cold wax modelling. I use wonderfully dense German platinum papers, hot- and cold-pressed cotton papers that have been made in the same French mill since 1492, rough-textured Indian Khadi paper, and especially, the delicate and transparent Japanese washi (mulberry) papers. 

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Malleable, flesh-like, sweaty, and 'transparently opaque,' wax reflects my interest in bodies and buildings. When combined with organic matter  on the photographic image, it calls attention to the ways that bodies and buildings move, change, decline, decay, degrade, are resurrected, rebuilt, or destroyed, forgotten or remembered. Bodies and buildings are texts that tell stories, that testify to lives lived. These two elements--one biological and one architectural, but both lived in--are omnipresent in my images and writing. These themes are, for me, particularly suited to  certain hybrid literary genres: the prose poem, the illustrated novel, autofiction, ‘new modernism’ and the ‘short-short form.’