Grounded in collaboration with the materiality of the Earth, I nurture a creative practice that is rooted in a direct and ongoing relationship with local botanicals. Co-creating natural dyes, plant-based inks and, most recently, the cyanotype process — one of the earliest forms of cameraless photography — these works emerge from a dialogue between land, light, weather, and time.

Cyanotype, in particular, offers a space where control is surrendered and collaboration begins. Light-sensitive iron salts are applied to surfaces such as paper, cloth, or wood, then exposed to the natural elements: sunlight, wind, rain, dew, and shifting temperatures. The resulting images are rendered by forces larger than the self — a quiet choreography between material and environment that cannot be predetermined.

These works make visible the relationship of local flora — redwood, eucalyptus, cypress, cedar, sagebrush, yarrow —  living participants in a shared creative process. They become not only subjects but agents: collaborators in a form of ecological witnessing. Sourcing fallen or respectfully gathered material from the land, the practice encourages a pace of observation, reciprocity, and reverence.