Whilst resisting the frameworks of established photographic practice, experimental outcomes are produced through both material and conceptual investigations. From a commercial perspective, the often over-looked processes of photoluminescence, with their ineffable existence and uncertain state of fungibility, are not ideal. However, it is these qualities of impermanence and entropy that allow for innovation and experimentation to take place, whilst at the same time supporting the desire to reject the commodification of an artwork.
Once photoluminescent paint has been used to cover the walls and objects within an environment, the viewer is invited to become a participant in the work, using light as a tool, to fulfil their eidetic desires. The viewer can use their smartphone light, or a light provided within the installation to create immediate photoluminescent representations within the space that appear as images, only to vanish moments later. A digital archive signifies the performance with a collection of flat, rectangular images that continually fail to be the event itself.