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.

Ingrid, enormous in spirit form, visits the mountain one last time, before the night-breeze takes her.

Lumachrome glass print, cliche-verre, chemigram, pastel drawing, collage. Window-crashed Brown Treecreeper, crayons, darkroom chemicals, vegemite, human hair and wax on fibre paper. Exposed 36 hours in a perspex box.

Editioned prints, 52cm x 75cm (editions of 10)

Three ceremony ladies, Molly, Rosie & Lily, return as ball lightning, in a thunderhead over Mt Hardy, on the rain dreaming songline, in Warlpiri Country

Lumachrome glass print, cliche-verse, chemigram, painting. Three storm-killed superb fairy-wrens, vegemite, tea, watercolours, ballbearings, feathers and wax on fibre paper. Exposed 16 hours in rainfall, beneath a perspex box

Editioned prints, 52cm x 75cm (editions of 10)

After bushfires came months of unrelenting rain. The burrows flooded. Mud obscured the paths to higher ground. Brian, in the mist rising from swampy ground, finds a great and secret tunnel in the sky

Lumachrome Glass Print, Cliche-verre, Chemigram, Drawing. Mud-killed baby hare with sand, stones, wax, crayon, salt, electric current, projections and graphite on fibre paper. Exposed 26 hours on the dog kennel roof, under perspex

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

There’s a door inside a nebula—where the dead go through. Marvin and Dorothy, still spinning, find one another on the other side of stars

Lumachrome glass print, cliche-verse, chemigram. Cat-killed New York chipmunk and grey squirrel on fibre paper. Re-exposed with sane, ochre, wax, house paint, Vegemite and sand. First exposure 13 hours under perspex in New York. Second exposure, 36 hours in a Braidwood greenhouse

Editioned prints, 75cm x 66cm (editions of 10)

After the highway, the lights, the cool dark wind that moved him, Murat, somewhere in that gigantic night, discovered a door

Lumachrome glass print, cliche-verre, chemigram. Road-killed Quokka, with ochre, wax, vegemite, pollen, bark, seeds and sand. Exposed 2 hours in WA ,26 hours in NSW in a perspex box

Editioned prints, 75cm x 73cm (editions of 10)

Solange, searching for her dead lovers in space, finds the miracle

Lumachrome glass print, chemigram, cliche-verre, drawing. Cat-killed Carolina wren, paint, copper chloride, saline and acid on fibre paper. Exposed twice, once on a New York verandah for 8 hours, then in a Braidwood greenhouse for 26 hours (with chemistry)

Editioned prints, 75cm x 50cm (editions of 10)

The Tree of Joyfulness erupts from the marrow of the First Rat. And its humming branches call the spirit rodents, those lost or returning to the source, and offers them shelter

Lumachrome glass print, cliche-verre, chemigram, drawing, scan. Pressed kangaroo paw, dehydrated bush rat, five frost-killed marsupial mice with seeds, household chemicals, copper chloride, crayon, wax, vegemite and graphite on fibre paper. Exposed 37 hours in a greenhouse

Editioned prints, 75cm x 72cm (editions of 10)

Matthew regretted leaving the world so soon, but the Nebulae were beautiful, and he glided through them like a satellite, or a tiny wandering star

Lumachrome glass print, cliche verse, drawing. Cat-killed New York squirrel, crayon, ochres and wax on fibre paper. Exposed 12 hours under perspex on a NY verandah, then a further 12 hours in a Braidwood greenhouse

Editioned prints, 75cm x 52cm (editions of 10)

Joseph flashes in the midnight clouds, like lightning, like something holy, like someone entering into grace

Lumachrome glass print, chemigram, cliche-verre. Fallen baby bird, insect tracks, seeds, copper chloride & acids with current, on fibre paper. Exposed 12 hours under perspex

Editioned prints, 75cm x 55cm (editions of 10)

In a season of floods and frogs, Gina arches over the Great Dividing Range, like a new sun

Lumachrome glass print, chemigram painting. Drowned brush-tailed possum, pigments, photochemistry, selenium, potassium ferricyanide, pencil and wax, on fibre paper. Exposed 48 hours and overpainted, in an open shipping container

Editioned prints, 75cm x 40cm (editions of 10)