I’m pleased to share the completion of my Garden Series

I’m pleased to share the completion of my Garden Series. Late last year, two works from the series, Tawanda in the Garden and To Be Held by the Garden, were exhibited at West Bund Art Fair in Shanghai. I’ve now completed the remaining five works, bringing the series to its conclusion.

The Garden Series is a body of photo-sculptural works that sits between photography and sculpture. Each piece combines UV-printed photographic imagery with formed acrylic. The photographs were made during my residency in Shanghai, then printed directly onto acrylic sheets and hand-sculpted using heat-forming techniques. This process shifts the image from a flat surface into a three-dimensional form that catches light, produces shadow, and asks the viewer to move around it.

My broader practice explores the meeting point of nature, technology, and artificial environments, and how memory is shaped through contemporary image-making. I work on site using an “Origin Image” approach, completing images in direct dialogue with place through walking, scanning, and sustained attention. Alongside high-end digital capture, I use LiDAR and computational processes, and I treat AI as a generative collaborator rather than a simple tool. The resulting works often hold multiple registers at once: photographic description, spatial trace, and machine inference. I think of these accumulations as digital sediments, where human experience and non-human processes leave visible residue.

Conceptually, the work is informed by shanshui as a way of thinking with landscape, but it is not confined to that lineage. I’m interested in the digital sublime and in the contemporary experience of landscape as something simultaneously physical and mediated, intimate and infrastructural.

With the Garden Series now complete, I’m looking ahead to exhibition contexts where photography can expand into objecthood and installation, and where landscape is encountered not as a view, but as a physical presence in space.