Throughout the fellowship, I used photography not only to record landscape, but to physically engage with it. Many of the images focus on human-made remnants - quarried stone, rusted metal, and collapsed boundaries - signs of an industry long retreated. I was interested in how these fragments suggest points of contact between people and land, and how traces of human activity linger long after presence has faded. In this sense, Fragments is about absence as much as presence.

Using seaweed-based developing and toning connects the material of the image directly to the environment it depicts. This circular process - gathering, making, returning - mirrors my own rhythm of moving through the landscape. Walking, swimming, and observing became forms of research, building a personal and tactile understanding of place. Cyanotype, with its sensitivity to light and time, offers a fitting medium for this type of slow, intuitive documentation.

Fragments reflects my ongoing interest in sustainable image-making, in developing methods that are not extractive but instead respond to the materials and ecosystems around me. The result is a series of images that are not simply of a place, but from it - images that carry the atmosphere, materials, and memory of the coastal land I’ve come to know.