Occupying the boundary between memory and imagination, Haze (2024) is a hyper-saturated dream sequence expressing the vivid sensoriality of summer and the ephemerality of life.

Haze is part of a larger, ongoing, photographic series entitled The Lake (2016-present) comprising portraiture, still lives and landscapes taken at a lake that has multigenerational significance to my family. The Lake explores the evolving relationship between people and their natural environment and how the visceral connection between psyche and place shapes identity, memory and the perception of time. Shot with analogue family cameras, The Lake continues a tradition of collective storytelling and memory-making both in process and form, expressing a legacy of shared, subjective landscapes formed through interwoven experience.

Haze departs from the previously all black and white series with its intense colour, rooting the work deeper in my personal experience and pushing its genre closer to autobiographical documentation or a visual diary. In another departure from the broader series, its introspective preoccupation centres on the vibrancy, playfulness and exuberance of immediate experience versus that which is cumulative and reflected upon over time. Shot spontaneously without lenses or tripods, the odd framing, intimate scale and sense of movement in Haze ground the work in bodily sensation, holding its temporal orientation in the present, albeit a hazy representation of the present as viewed from the past, or conversely, as a memory not simply recalled in the mind, but physically re-experienced. A small selection from the series is presented here.