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My work sits at the intersection of photography, research, and critical investigation—where image-making functions not only as cultural expression, but as a tool for evidencing, resisting, and reframing dominant narratives. Working primarily with analogue processes, archival research, and spatial inquiry, I use photography to examine disappearance, marginalisation, and the structural silences embedded within institutions. At the centre of this approach is Pretty Mandem—a visual identity and strategic framework I developed to navigate the intersection of creative practice and investigative methodology.

Pretty Mandem functions as both a cultural brand and a forensic model, allowing me to move between the studio, the darkroom, and the field. It creates space for both aesthetic authorship and evidence-based inquiry, particularly in relation to cases that remain unresolved, underreported, or institutionally neglected.

The darkroom remains a key component of my methodology—not as a nostalgic space, but as a site of material analysis and forensic potential. I treat it as a critical lab: where negatives become narratives and absence is developed into visible, tangible evidence. Analogue methods allow for slowness, precision, and intentionality—countering the disposability of digital image culture and opening space for deeper visual inquiry.

My practice engages with public appeals, criminal investigations, and grassroots documentation—focusing particularly on cases involving missing persons, systemic neglect, and racialised state violence. I am especially interested in contributing to legal and criminal contexts through visual and material evidence, combining cultural research with investigative rigour. These aren’t solely artistic or conceptual concerns—they’re legal, spatial, and political ones that demand new ways of seeing and proving.

Through Pretty Mandem, I’m developing a methodology capable of operating across creative industries, legal frameworks, and community archives. This work aims not only to document, but to intervene—shaping how narratives are authored, recorded, and contested through image-making that is both critical and accountable.