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.

In the garden of Namadji, a tree holds nine small birds in its arms, as they grieve for their friend beneath the earth

Lumachrome glass print, chemigram, drawing. Ten still born Keats, pressed native fuchsia (Eremophila Latrobe), sea-water and vegemite on fibre paper. Exposed 21 hours in a polycarbonate greenhouse.

Editioned prints, 75cm x 70cm (editions of 10)

Carried by floods, Madeleine, her lungs filled with seawater, her body shining and oracular—sings her bush-rat story for the very last time, to an audience of fish.

Lumachrome glass print, cliche-verse, chemigram drawing. Flood-drowned bush rat, wax, seeds, eyeliner, crayon, vegemite and turmeric, on fibre paper. Exposed 42 hours in a polycarbonate greenhouse.

Editioned prints, 75cm x 44.5cm (editions of 10)

Marcia sounds her wild freedom songs over the houses of the bigots. (For Marcia Langton, after the referendum)

Lumachrome glass print, cliche-verse, chemigram, drawing. Drowned ghost bat, ochre, mud, wax, coloured markers and sand on fibre paper. Exposed 46 hours in an abandoned car.

Editioned prints, 75cm x 74cm (editions of 10)

Gordon, fleeing bushfires on the range, leaps into the night sky, and is transfigured

Lumachrome glass print, cliche-verre, chemigram, drawing. Smoke exhausted baby rabbit, seeds, dirt, wax, ochres, mud, vegemite and white eyeliner, on fibre paper with contact printed chemical residue from a metal plate. Exposed 36 hours in the back of an abandoned car.

Editioned prints, 75cm x 54cm (editions of 10)

Paul inside the nebula, listens for the hum of spinning planets

Lumachrome glass Print, Chemigram. Cold-killed Nankeen Night Heron, selenium and sand on fibre paper. Exposed 39 hours in a polycarbonate greenhouse.

Editioned prints, 75cm x 49cm (editions of 10)