I am developing a series of photographs that explore the chalk landscape of the South Downs through physical manipulation of prints. Each piece responds to the geological character of chalk, its fragility, tension, and surface ruptures. All works are produced as archival pigment prints on eco-conscious Hahnemühle Agave paper, made from 90% agave fibre and 10% cotton.

This first work depicts a hill in the Cuckmere Valley, where a vast rip cuts across its face to reveal the white chalk beneath. I mirrored this by tearing the print along the ridge, then re-photographing it to create a new image that echoes the torn land.

This second piece focuses on the sea cliffs near Seaford, where the chalk appears crumpled and folded. To reflect this, I produced two prints: one forming the background, the other crumpled, torn, and placed on top. Re-photographing these layers creates a surface of dips and shadows that resonates with the physical structure of the cliffs.

The third work returns inland, to the folded ridges of the Downs. Again working with two prints, I folded the second along the natural contours of the land, then overlaid it on the background and re-photographed it. The resulting piece emphasises the tension and compression of chalk grasslands.

While the works currently exist as re-photographed prints, I am also considering future installations in which the manipulated paper remains in its three-dimensional state. In this form, the physicality of chalk, torn, crumpled, and folded, would be directly experienced in the gallery space. In the video below, you can see how I manipulate the prints to reflect the landscape itself.

This project marks the beginning of a larger body of work exploring the South Downs. Alongside its ongoing development, I am shaping the series into a proposal for exhibition and publication, with the aim of expanding how these fragile, distinctive terrains can be seen, felt, and even heard.

I plan to continue developing the series using a medium format camera to capture the subtle tonalities and fine details of chalk. Future photographs will explore chalk pits, escarpments, and the varied habitats across the Downs, from coastal cliffs to grassland ridges to chalk streams. The series will ultimately consist of around ten works, each employing a different form of physical manipulation, reflecting the diverse character of chalk. Together, they will form a layered portrait of this landscape, fragile and eroded along the coast, yet rare and ecologically vulnerable inland.

I am also exploring the integration of site-specific sound recordings, capturing both natural and human presence within the South Downs. This will create a more immersive encounter, allowing viewers to experience the landscape in multiple dimensions.