GLOSSARY

ACCUMULATION
The gradual gathering of marks, images, materials and histories. Accumulation allows relationships to emerge through repetition, sedimentation and proximity rather than through a predetermined composition.

ALMA

A term connecting soul, nourishment, care and alma mater—a place of learning and formation—while also suggesting AI/MA and questions of intelligence, making and authorship. It describes a practice of facilitation rather than control: creating conditions in which materials, images and relationships can develop.

AMBIGUITY

Not uncertainty for its own sake, but an opening. A means of resisting fixed interpretation and allowing several possibilities to coexist.

APOPHENIA

The tendency to perceive patterns, images or relationships within ambiguous or apparently unrelated material. Within the work, apophenia is not treated as an error but as a generative act of looking: a fragment may become landscape, body, architecture or organism according to what the viewer brings to it. Recognition begins, but meaning remains provisional.

ARCHITECTURE

A means of constructing the conditions for existence. Not exclusively human: shell, nest, protective packaging, building and bodily structure can each be understood architecturally. agency..

ATTENTION

A way of making before making begins. Sustained looking reveals relationships, interventions and compositions that already exist but might otherwise remain unnoticed.

COLLECTION

Not accumulation, but selection. Objects enter the studio carrying material, ecological and cultural histories that remain active when their original context is removed.

COMPRESSION
A material, spatial and temporal process through which matter is pressed, folded, accumulated or constrained. Compression generates form rather than merely reducing it: paint records contact, casts retain the memory of containers, geological fragments condense deep time, and soft materials negotiate architectural limits. It makes pressure visible while revealing what resists, escapes or re-emerges.

DISTRIBUTED AUTHORSHIP

Authorship understood as a negotiation between artistic decisions, found materials, chance, site histories, physical processes and computational systems. The artist remains responsible but operates by selecting, responding and establishing conditions rather than exercising complete control.

EMERGENCE

Something becoming visible that was not entirely predetermined. Form and meaning arising through relationships, chance, material behaviour and attention.

EXPANDED PHOTOGRAPHY
Photography understood as more than a fixed document. Images are cropped, layered, digitally altered, translated through painting, combined with objects or arranged spatially, allowing photography to operate as both material and method.

FRAGMENT

Not an incomplete whole. A fragment is a point of departure: something capable of suggesting a landscape, body, architecture or system beyond its physical scale.

MATERIAL TRANSLATION

The movement of a form, trace or piece of information between materials and processes. Translation is not treated as faithful reproduction: each passage introduces loss, distortion, resistance and unexpected possibilities that alter the original.

NEGOTIATION

The space between things. A condition in which materials, organisms, environments and human systems encounter and alter one another without necessarily reaching resolution.

PROVISIONAL ATLAS

An incomplete and revisable arrangement of images, surfaces, objects and fragments. Rather than claiming to describe a place authoritatively, it maps relationships across location, time and process, allowing audiences to construct their own routes through the material.

SCALE

Unstable. Microscopic structures become landscapes; objects become architecture; fragments suggest territories. Scale is something encountered perceptually rather than accepted literally.

SPECULATIVE RESEARCH

Research conducted through making rather than towards proving a fixed proposition. Observation enters the studio, where objects, images and materials are released from their existing relationships and allowed to propose others. Photographs, fragments, archives and material experiments become provisional evidence from which unfamiliar connections and possible meanings can emerge..

SPECULATIVE TERRAIN

A visual territory situated between documented place, remembered experience and imagined landscape. Through cropping, shifts of scale and digital or material transformation, familiar surfaces become uncertain environments that appear both possible and unknown.

TRANSFORMATION

A condition that precedes and continues through making. Materials arrive already altered by growth, erosion, manufacture, use, weathering or displacement. The artwork continues that history.

UNSTABLE EVIDENCE

An image, object or fragment that retains a trace of an event or place without providing a complete or reliable account. Its meaning changes through selection, context and transformation, making uncertainty part of the evidence rather than a failure of it.

VISUAL ECOLOGY

A network in which photographs, paintings, objects, materials and ideas affect how one another are understood. Individual works remain distinct, but meaning emerges through their relationships, migrations and changing positions within the wider practice.

WORLD MODEL
A provisional system assembled from photographs, painted surfaces, found fragments and digital transformations. Each element carries partial information; through selection, accumulation and recombination, relationships emerge between landscape, material memory and computational image-making. The model is never fixed; it remains open to revision as new materials, observations and collaborations enter it.

HYPHA

The connective principle of the practice. A way of thinking and making through branching relationships rather than fixed disciplines or hierarchies.