He created the images using two analogue processes, one with a paper negative, the other produced using a complex colour-reversal process. ‘These are representations of flowers, of course, but they are also signs of a complex improvisation with chemicals, paper, light, and time. I do not know what the image is going to be like at the start of the process; each one is a small revelation. Sometimes the strangeness of the result positions the everyday motif of the flowers in a new hybrid space between the chemical and natural, a fusion of the tradition of art that celebrates the transience of flowers, and a process that steals them away into an uncanny, chromatic image of an apparently permanent and artificial afterlife.’