The problem with pairing photographs and poems is that each medium tends to explain the other, and once explained, neither has anywhere left to go.

These experiments try to find the configuration where that doesn’t happen — where the text is not a label and the photograph is not evidence. The working method involves printing both simultaneously where possible, or printing one onto the surface of the other using a combination of risograph and inkjet.

The square format (42 × 42) emerged from the folk horror series; the rectangular formats (24 × 32, 25 × 25) are working toward something more book-like.

Most of these are failures. That is what they are for.

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Current active questions:

• At what point density of text becomes texture rather than language?
• Does the photograph need to be recognisable, or just present?
• What does it mean to choose a paper with a memory?