I study the liminal space between subject and camera lens, looking to extrude photographs beyond their 2-dimensional plane. I am interested in how photography, a commonly representational medium, can be manipulated to become sculptural and immersive.

I want to portray the tension and harmony between material autonomy and human intervention. Ordered chaos through entropy is how it often manifests: disrupted, irregular and artificial surfaces permeating every part of an image yet restricted to four sharp borders. I use muslin because it is how I imagine the fundamental digital composition of an image, with every woven fibre an individual ‘pixel’ I can manipulate. I try to reintroduce depth by controlling how and where light and projection can meet a subject, through tactile and cathartic processes like sewing, ruching, stretching, and tearing. I expose only certain elements to light, often employing cyanotype as a media to harness the sun’s light and epitomise the vast disconnect between a viewer and a subject.

What looks like evidence is often illusion, a reflection of the post-truth world we inhabit. I strategically use editing, layering and cropping to inhibit a viewer’s ability to distinguish reality from fabrication. The landscapes I produce are emotional topographies that map feelings of instability, doubt and betrayal.

Instagram: @art.sidonie