THELINTeknikolor

Recollection rarely returns as a picture. It returns as a temperature — an amber afternoon, a green hour, a rose-coloured room that may never have been that colour at all.

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A tall grid of instant photographs fading from pale beige through deep red to near black and grey

01Last Light

The day dimming one row at a time, from pale beige through deep red into near black. Each frame holds the same view; the light is what changes.

Grid of unique instant photographs, mounted on board.

A wall of small prints arranged in a grid, fading from black through deep red to warm amber and back to black

02Afternoon, Held

A grid of small prints made on expired stock, each frame drifting from black through deep red to warm amber. The emulsion has begun to invent its own palette, and the shifts are left uncorrected — the film remembers the way we do, warmly and unreliably.

Expired film, pigment print on archival paper. Grid of unique prints.

A soft-focus field of deep red over a dark band and a pale ground, like a horizon at dusk

03Red Hour

A colour remembered rather than a scene. The edges have dissolved until only three temperatures remain — red, dark, pale — and the space between them does the remembering.

Expired film, pigment print on archival paper. Unique edition.

A single instant photograph of a red wall and a beam of morning light falling across a pale surface

04Morning Room

One frame, one room, one hour. A red wall holds the shadow while a beam of morning light crosses the floor — the briefest architecture, kept on expired stock.

Unique instant photograph.

A wide wall grid of small prints running from white through burning red to deep blue, with handwritten notes scattered across it

05Blue Hour

The widest register of the series: white into burning red into deep blue, annotated by hand across the grid. The notes are not captions but the thoughts the colours arrived with.

Grid of unique instant photographs with handwritten annotations, mounted on board.

A wide wall grid of small prints fading from pale beige through deep blue to black, with drips of emulsion running down

06Nightfall

Pale beige sinking through deep blue into black, the emulsion running in long drips like rain on a window. The image does not end so much as settle.

Grid of unique instant photographs, mounted on board.

A wide dark grid of prints with a small cluster of burning red frames glowing at its centre

07Midday, Burning

Almost the whole wall is dark, and then a small cluster of frames burns red at the centre. A memory behaves the same way: mostly shadow, with one hour still lit.

Grid of unique instant photographs, mounted on board.

A wide wall grid of small prints fading evenly from pale beige through warm brown to black

08Sundown

The most even fading in the series — beige through warm brown to black, row by row, nothing left to dramatise it. The patience of the light is the subject.

Grid of unique instant photographs, mounted on board.

A tall grid of instant photographs moving from olive beige through bright red to deep darkness

09Golden Hour

Olive, red, dark — the hour photographers wait for, recorded on stock that was already expiring. Whatever warmth survives is partly the film's invention, which is exactly the point.

Grid of unique instant photographs, mounted on board.

A tall grid of instant photographs fading from cream through warm brown to cool grey

10Grey Morning

The morning after the colour: cream through warm brown into cool grey, the series closing on its quietest register. Not every memory returns warm — some return as weather.

Grid of unique instant photographs, mounted on board.