In this series, which is influenced by Japanese haiku, particularly the late poems of Basho, the photographer draws on the structure where kire (cut) opens ma (negative space). Flowers were gathered from Japan's mountains, cut at the point where the flower meets water. Backlit in front of a translucent backdrop, the negative space creates the impression of snow traces, reflections, or cracks in a snowfield, lake surface or dry earth. This space is not simply a background, but equal to the subject.
Each work in this series was made by inverting a photograph to produce a digital negative that was contact-printed as a silver-gelatine print. Showing the negative beside the positive reveals the process and like linked verse, each pair passes to the next. The same image, repeatedly transformed, reweaves time and place like the changing seasons.