The process starts with physical film. I shoot using 35mm cameras from the 60's through to the 80s, particularly because of the manual nature of the cameras and loading them with expired film stocks. I love the unpredictable personality of expired film, the heavy grain, the unexpected colour shifts, and the way it instantly feels like a window into the past.

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Once the prints are in hand, I bring out the needle and thread. I sew directly into the paper, adding geometric shapes and subtle figurative details that react to what's happening in the image. Sometimes it's about following a line in the photograph, sometimes it's about bringing a flash of bright colour back into a black-and-white frame, and other times it’s purely based on how a specific picture makes me feel and the shapes or things that come to mind when I see the images freshly developed.