The aim of In Borrowed Carbon is to draw attention to nature's innate and archetypal cycles – the rhythms that write the revolutions of all things alive on this planet.

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Modern life's demands for commercial efficiency brings an obsession with time; a fixation with the finite. Our emphasis on urgency has made us think in terms of lifespans over life cycles.

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For the sake of efficiency, we tend to see products, political regimes, cultural movements, ideas and lives as singular arcs, each bookended by birth and death.

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But through the perspective of natural cycles, we can become aware that a lifetime can be part of a spiralling trajectory – one that can split into inexplicable tangents. 

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Beyond our obsessions with end-products and deadlines, there are seasonal patterns that show how forests embrace death as nourishment for further growth. There are sequences that reveal how forests need distant deserts to survive.

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The images of In Borrowed Carbon are void of humans and the sense of time that they bring to scenes.

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The ambiguity and intrigue of a world that isn't governed by human time is furthered by techniques of abstraction in the making of these prints.

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This is done through an array of analogue photographs, double exposure images and alternative printing methods that require intuitive brushstrokes of photosensitive emulsions.

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Through blending the storytelling medium of photography with these evocative abstraction practices, In Borrowed Carbon furthers the mystique of our fragmented understanding and partial acceptance of nature’s cycles.