Concept:

My most recent Liminal Terrain project explores the convergence of fluid art, perception, and imagined scale, where macroscopic worlds unfold as vast, inhabitable landscapes. Through the integration of small human figures, the images evoke exploration, curiosity, and the human impulse to navigate the unknown.

Cellular structures resemble oceans, caves, and shifting terrains, blurring distinctions between the organic, geological, and cosmic. My work reflects on the interconnectedness of all systems, where inner and outer worlds mirror one another.

Transforming pigment into immersive environments, these series reveal new dimensions and invite contemplation of scale, presence, and perception. The viewer is positioned within a liminal space—between science and imagination—where familiar activities become acts of discovery within a living, evolving universe.

The Process:

Liminal Terrain begins with a simple physical process: photographing inks as they move, mix and interact. As different colours and densities of ink flow into one another, they create intricate patterns, textures and unexpected forms. I photograph these fleeting moments at close range, capturing landscapes that exist only briefly before the inks continue to change.

I then look at these photographs as imagined terrains. Using AI as a creative tool, I introduce very small human figures, generally at a scale of around 1:100. They may be walking, swimming, kayaking, climbing, diving or exploring. Their activity is carefully chosen to respond to the forms already present in the photograph.

The human figures provide a sense of scale and transform the abstract patterns into places that appear strangely believable: oceans, mountains, rivers, ice fields or unknown worlds.

The original photograph remains central to the work. AI is used selectively to extend what is already suggested by the movement of the ink, creating a space between the real and the imagined.