A couple of years ago, my essay “Idioms of an Ecological Self” was published in the Journal of Integrated Studies. Having finished my academic work, my attention is now circling back to the literature underpinning my thesis: Craft practice can facilitate ecological attunement. I’m re-reading and re-learning while my studio practice shifts to different media. Now my practice is heavily steeped in photography as a way to see where I am in a different way. Photography stops time and light, offering a very different view of the moments among action—particularly in water.

Here distortions in light change an oyster shell to a living, moving sculpture eroding in a freshwater current. One shell in a stream becomes a living performance with one snapshot holding still one variation of perhaps a million shiftings in light and position that one day. This photograph, or this act of photography, allows time-stopping and a visual freezing that serves to expand what I see day to day. When I see oyster shells on the beach, in the streams heading into the sea, they look different now: They are an almost infinite expression of form within the greater context of light, water, erosion and time.