These works are the result of genuine collaboration with the landscape. They are literally constructed from light, earth and flesh. I love this technique of lumachrome glass printing for its ability to make dead animals and birds seem alive again. It is light alone that manifests these colours and shapes- not paint or anything that can be completely controlled.

I have largely invented this process, which involves arranging blood, clay, sticks, leaves, seeds, resin, ochres, etc., with road-killed animals or birds, on light-sensitised paper. Exposed 24 to 36 hours, while the sun arches east to west, fibre papers produce surprising arrays of colour. Over this I layer cliche-verre plates coated with resists of wax or paint, scratched with wire to create lines.

Sometimes I run electric currents over these plates to produce crystals in the ochre. For finer detail, I use chemigram variants, painting compounds like selenium or copper chloride directly onto feathers, scales or fur. I have called this Lumachrome glass printing because light produces colours in the emulsion (Lumachrome) and I use layered glass plates.

My process is different, adaptive, for each print. If an animal is still bleeding, I paint its blood into the image during exposure. Ochres, seeds, sticks, and other materials, are sourced where the animal or bird was found. If maggots and flies appear, their tracks are incorporated into the work. When the print is complete, the creatures are respectfully buried.

Stephen, electric above the crow-dark Brindabella Ranges, watches snow gums grow tiny with distance, until the land falls away and he is surrounded, in all directions, by ice-gravel stars

Lumachrome glass print, cliché-verre, chemigram, drawing. Lightning-struck crow, sticks, parsley, vegemite, sesame seeds, wax, potassium ferricyanide, acid and ink on fibre paper. Exposed 39 hours under a perspex box in the back of an abandoned car.

Editioned prints, 75cm x 64cm (editions of 10)

After the floodwaters, Penelope and her family glimmer over Black Mountain, in the shape of the Southern Cross

Lumachrome glass print, cliche-verse, chemigram. Four drowned mice, sand, wax, darkroom chemicals, turmeric, acid and an electric current. Exposed 27 hours under glass, in the back of an abandoned car.

Editioned prints, 70cm x 47cm (editions of 10)

Brian, crossing a winter highway, falls in headlights and the night will lift him, and burnish his quills with galaxies

Lumachrome glass print, chemigram. Roadkilled short-beaked echidna with sand, crayon, household chemicals and selenium on fibre paper. Exposed 42 hours in an abandoned car.

Editioned prints, 75cm x 62cm (editions of 10)

A flying saucer over Clyde Mountain, shows Declan, dead at two hours old, how to make a new body out of light

Lumachrome glass print, chemigram, drawing. Deceased newborn microbat, dried take-away baby octopus, salt, wax, crayon, paint, potassium ferricyanide, silver nitrate, household chemicals. Exposed 16 hours in a metal bucket, in rainlight.

Editioned prints, 70cm x 70cm (editions of 10)