Made primarily using isopropyl alcohol on the glass, the burn creates ribbons as it clears, leaving undulating waves that move through the composition with a quiet, almost geological rhythm.

When I first developed the slide, I set it aside. It felt uncharacteristic. I returned to it some time later to find it scratched and disturbed. What had felt like a flaw had become something else entirely. The newly aged looking surface reminded me immediately of NASA photography from the 1960s. The kind of image that looks pulled from an archive, like evidence of something vast and old.

That discovery changed the piece completely. What I had dismissed became one that quietly led the way for the compositional decisions in the Nenshō series and the ribbon aesthetic that runs through the Nova series. Aurora was, in hindsight, a beginning I almost threw away.

It is understated and bold in equal measure. It carries an archival quality that makes it feel less like something made and more like something found.