Materiality of the Photograph

The Materiality of the Photograph explores a generative, practice-based methodology that engages with new materialist perspectives to reimagine the photographic print as an active and transformative material form. Through processes such as sculpture, installation, tapestry, instructional AI, and rephotography, this practice experiments with diverse approaches to the photographic print, treating it not as a static image but as a virtual-material form that is shaped through interaction. Central to this project is the philosophy of folding: an approach that transcends mere technique to function as a conceptual device, challenging conventional surface perceptions and inviting a deeper, critical awareness of often-overlooked architectural features. The work also engages with digital noise, typically regarded as a flaw, reframing it as a generative force. Red-hued noise, produced through high ISO settings and post-production manipulation, becomes a visual marker of disruption. In line with Caroline Kane’s conception of noise as “anti-communicative” (2016), it resists representational clarity and invites alternate modes of perception. Together, these strategies contribute to an expanded understanding of photographic materiality; one that is dynamic, processual, and embedded in spatial and architectural contexts.