The images I create, often depict the grand decay of monumental spaces, stately and unstately homes, and historical landscapes. This subject matter reflects on the idea of preservation, a focus on documenting obsolete spaces that share similarities to the darkroom, now considered a dated concept to many. My art practice is an ongoing study of unique artefacts and traditions that have become a thing of the past and no longer practiced today. The manipulative and disrupting quality in each of my series highlights the way we are becoming increasingly distracted by our own thoughts and preoccupations, memories or recollections that we do not really register where we are. Of having some sort of screen between us and the world we are facing. Realised as a dissolving, coloured cloud of mist, or smoke, hovering over an abandoned or overlooked space, these particular works are also warnings: distraction may be seductive, but it’s important to remember the importance of being present in our lives at all times. I am concerned in the discourse between analogue and digital processes and where it stands within our everyday lives. I found my bespoke methods using photography with alternative techniques whilst I was undergoing my BA in Fine Art at Loughborough University back in 2008. Accidentally spilling some unwanted chemicals onto one of my undeveloped prints in the darkroom, I noticed a change and unique distortion within the image, which has ultimately led to my current art practice. Developing this technique, I went on to study an MA in Fine Art at London’s Chelsea College of Art and Design in 2012 and since have continued to exhibit throughout the UK. By using alternative methods beyond the traditional photographic print, I want to extinguish this notion that image and film has to be flawless. This expectation leaves no mystery; it is instead fully presented in front of you. By using physical elements, and other found materials, the outcome brings it closer and seems more real to us, as we ourselves have imperfections.