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This series of work draws on physics textbook diagrams used to demonstrate the wave motion of light—a style of imaging light using ripple tanks that gained prominence through the work of American photographer Berenice Abbott. In the context of Abbott’s other predominantly documentary work, these photographs explore alternate modes of vision and truth within the language of the sciences.

Overlaid on some of these abstract patterns are other, documentary images that relate to photography and its indexical relationship to light. These images vary, depicting in some cases quarries of mineral pigments used for processes of whitening and bleaching, as well as for the white pigment in oil paints.

In other cases, they feature images of the curvilinear form of Fresnel lenses—compact lenses used in lighthouses, which were once cutting-edge maritime technology and key to shifting theories of the nature of light.

Set against the background of physics imagery, these images of capturing, mining, and transforming light might suggest the process of making photographic images, or hint at the shifting nature of perception itself.