Embryos of the Loam

2026, drypoint on perspex print, 21 x 29.7cm

The Metabolic Nature of Life (Series)

I’ve lately found drypoint etching on Perspex and coloured film sheets useful mediums for examining the differences between biological and digital mortality. Such works caution post-human ideas of disembodied consciousness.

I have found etching a fascinating medium to work with as it removes material – casting an image through absence. Thus, I imagine disembodied subjects, floating in a digital space, yearning for contact to environments they cannot materially inhabit.

Translucency became particularly interesting to me after my experience in the dissection rooms at Oxford. Coloured film sheets allowed me to layer, colour, and obscure imagery much like in medical scans, which become indistinguishable from nature and the human body in my most recent works.

2026, drypoint on perspex, coloured film sheets, aclohol inks, medical images.

This work imagines an alternative skeletal system through the lens of biological immortality. Using etched perspex projections, it explores life as a metabolic continuum in which decay and regeneration - life and death - are inseparable processes.

Challenging the fixed boundaries of the self, established by the anatomised Western skeleton, the piece instead proposes a state of deep entanglement between self and other. Human anatomy, plant forms, and medical imaging collapse into one another, becoming indistinguishable within the projected scenes.

The ghostly, light-based projections - reminiscent of early magic lantern shows - evoke a sense of “thick time”: a shared temporality in which matter is continuously transformed and exchanged. In this light, the body and nature occupy spaces beyond their assumed boundaries – projecting, merging and transforming from their stationary, physical vessels into changing, boundless images, affected by one another and the viewer.

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