Through conversation, knowledge exchange, and collaborative practice, Jess and Melanie’s work was woven together across landscapes in Scotland, England, and the Outer Hebrides. Their collaboration developed new and experimental plant-based recipes for analogue processing, printing, and toning, presented through a combination of new and existing works.

Jess presented in-process works from The Natural Process, a research and development project exploring the ethics of foraging, growing, and harvesting local plant matter to create plant-based chemistry for analogue photography. The sustainable silver gelatin prints on display were produced using newly developed recipes derived from local Scottish landscapes. The work also extended into sound through Polymossphony, a collaborative 35-minute soundscape created using touch, voice, field recordings, and the electro-activity of moss, reflecting a more embodied and reciprocal relationship with the more-than-human.

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Melanie exhibited works from Acquaintance and Submerged Landscapes, projects that explored sustainable photographic processes and material connections to place. Acquaintance, developed in the Peak District, used botanical cyanotype toning to reconnect with the landscape through plant-based processes. Submerged Landscapes documented coastal areas at risk of submersion in Thanet, UK, incorporating sea-derived materials such as bladderwrack developers, sea spinach anthotypes, and salt water to fix lumen prints.

Together, the exhibition demonstrated how analogue photography, sound, and sustainable methodologies can produce works that are materially connected to landscape and to one another. Through collaborative and queer approaches to making, the project offered insight into more-than-human relationships and the future of analogue practice in an era of ecological uncertainty.