Selected droppings from Droppings, 2022

Unique hand c-type prints, made from discarded photographic negatives

printed on a roll of 10” Kodak expired photographic paper

Made in collaboration with Carl Randall, who assisted in the collection of

negative waste


Selected works from My Barium Meal, 2021
hand c-type prints, BW hand prints, BW hand prints on expired Bromide paper, BW photograms on Oriental expired paper, collage

Savouring left over food scraps and preserving animal bones left after meals, My Barium Meal is a food diary, that connects mysterious life through extraction.
Utilising techniques such as infrared and UV lighting, photograms, microscopy and X-ray film, ‘accuracy’ amongst photography in scientific realms is interpreted.



selected pinhole exposures from December - February, 2020  

31-12-19 Tesco, Seven Sisters, 2 nights
03-01-20 Sainsbury’s, Stamford Hill, 2 nights
  06-01-20 Lidl, Tottenham, overnight
15-02-20 M&S, Dalston, 6 hours
15-02-20 Sainsbury’s, Dalston,  6 hours



    selected pinhole exposures from February - March, 2020

    22-02-20 Waitrose, Clerkernwell, 6 hours
    08-03-20 Asda, Stamford Hill, 6 hours
    07-03-20 Sainsbury’s, New Cross Gate, 7 hours
    12-03-20 Asda, Bruce Grove, overnight
    19-03-20 Morrisons, Stamford Hill, 6 hours


  selected pinhole exposures March 2020

      15-03-20 Sainsbury’s, Farringdon, 5 hours
    16-03-20 Sainsbury’s, Chancery Lane, 5 hours
    18-03-20 Tesco, Seven Sisters, overnight
    20-03-20 Tesco, Enfield, 4 hours
    20-03-20 Tesco, Enfield, 4 hours


Selected pages from Supermarket Diary, 2020
Selection of cameras from Shelflifes exposures, 2020


Using shoeboxes rescued from trash or appropriated secondhand, pinhole cameras
were made over a 6-month period and placed underneath parked cars
temporarily to expose their unseen body parts. Various photographic paper, film
types and exposure times were experimented with to trace each boxes encounter,
vulnerably scarring and recording the photographic material.

While some of the photographs were taken locally and with neighbours’ permission,
diary entries reveal the risks taken in sneaking these re-fashioned cameras – oblivious
and suspicious to the potential car owner– underneath vehicles that are the private
belongings of others, and with the intensity with what could happen if caught.

Appearing medical in its gaze and forensic in its surveillance, Undercover
subverts several binaries at once. Keeping suspended the gap between human and
machine, private and public, street and home, hidden and seen; identification with
neither and both of these supposed binaries occur in this urban underworld.

written by artist and writer Benjamin Carey, 2018

Undercover book:

Diary samples:


         Documentation, Tottenham, London, 2020
         unique c-type C41 & black and white photographs,           
         ground sealant, pinhole cameras made from shoe boxes, black paint, foil, gaffa tape

Trapped in a valve, 2018
soundpiece, 9 mins 06 secs


Collaborating with people who conduct, or who have captured a  slaughter on camera, this project connects with rituals and historical
practices of feeding on flesh. These part abstract/ documentary videos consider wider food production systems and the ethics of both
eating and being animal. 

Installation of Preying for Modesty, PhotoAccess, Canberra, Australia 2021
Link to BETTER OUT THAN IN, a converstaion between Katrina Stamatopoulos, Kerrie Cooke, Helen Pynor and Laura Dalrymple
An online event held with PhotoAccess, Canberra

Preying for Modesty, 2020
Part IV shot by Chris Panagiotaros in Capertee, Australia

Preying for Modesty, 2020
Part III shot by Libby Gresham in Wattle Ponds, Australia

Preying for Modesty, 2020
Part II shot by Jessica Fewkes in Bugiri, Uganda

 Preying for Modesty, 2020
 Part I shot by George Stamatopoulos in Dungog, Australia