THRESHOLD

Threshold embodied that liminal moment between seeing and being seen, where boundaries between observer and landscape dissolved. Through the deliberate transformation of a magnificent 1960s German SLR—surgical precision stripping away engineered perfection to create essentially a box with a hole—I found resonance with the Sheppey marshes themselves. There was something fitting about using a deliberately imperfect camera in these edge-lands, both existing in states of in-between, neither one thing nor the other. Standing in mud for very long exposures, I watched landscapes blur between solid ground and sea while light leaked through my converted camera. The irony wasn't lost on me—dismantling mechanical precision to embrace chaos and chance. Like the marshes themselves—spaces of constant transformation—these photographs challenged our perception of borders, capturing the threshold where control surrendered to organic imperfection and unexpected beauty emerged.