Selected poetry & prose
Poetry and text have been integral to my photographic practice from its inception, shifting in form, style, and prominence over the years. This intersection began in 2013 with Waves of an Afternoon—a graduation photo-poetry book inspired by the 1940s avant-garde films of Maya Deren. While selections of my text have appeared in artist catalogues (Extending Ley Lines, 2014) and academic journals (At Alta, 2020), the majority of my writing has previously remained private.
The following collection brings together a series of creative writing excerpts, ranging from expansive prose to minimalist poetry. Presented as a sequence of fragments and complete poems, these entries are curated to offer an overall impression of my literary approach—one deeply informed by the Canadian classicist Anne Carson, whose radical brevity is a particular inspiration.
Gracious, grows and blooms, the grass and bark, steadily but tense.
The linger of our toes drape the dew, and kiss the roots of apple trees beneath our soles.
Our lips soften with the sun and end in sunset,
on the rise and fall of our stomachs-
full of ginger tea and Japanese food.
Your blonde almost-curls bend quietly from the soft brushes of my fingertips,
to scalp,
to forehead,
and ears.
Drawing circles to mark an audible eternity.
The curve of your neck bows to me and reveals your face.
Bleached in the golden hour
you look at me.
You look at me with such knowing eyes that I dare not to pull away,
instead I plunge into deep, reassuring blue.
From knowing eyes, to knowing hands,
that buzz so sensitively around
the honey of my youth.
Pressing deeply against muscles
Lit by tea-lights.
Scented by incense-
we swallow into soil.
Your comfort,
only matched by the soft warm hug of earth,
reaches up to me to places I’d not yet touched.
With you I explore all of me,
A map, finally worthy of discovery.
Rain from sooted clouds, falls and drowns our becoming.
In the earth we grow together,
entangled like roots
from a rich sequoia tree.
On anniversaries of growth
we exchange Japan for Nepal,
a brave moment for us both.
Limbs and trunks meet us
and laugh, not foreseeing our decay.
One final night exchanged in tangled toes
followed by an inevitable fall
from the crown of redwood, awaits us.
We were further apart than once was seen,
you bathed in bark
I washed in green.
(Excerpt from ‘A Portrait of Air’, 2014).
Just like
a cooling sun
born softly of mid-winter
beats upon
the ground
causing damp
to rise
to gas.
I felt our bond transition,
dissipate.
Or as a log does splinter.
When left out to dry
in woodland,
until a blade will sure to pass.
(Excerpt from ‘His Ballard, Under Waning Moons’, 2018).
I stand upright,
semi-rigid in the kitchen,
painted by the blinds that cut through sunlight
drawing me into fragments.
I stare at the brown envelope, marked “Return to Sender”,
my misspelt name scored in its surface, as if drawn in anger.
And I wonder in the knowledge
that its contents were spilled into my childhood home,
and although were stuffed back
as if to stem the flow of bleeding
that I have left something of myself.
And that that is enough.
I think of the nursery carpet
whose pile was so thick,
it would prevent the door from opening
no matter how hard I tried.
I think about how my smile
would dampen in your presence.
How this led to my removal
and severed generational ties.
(Excerpt from ‘Return to Sender’, 2026).
I now sit snugly by the sea, counting waves as they wash over me.
Laid in beaches by the pier watching seagulls as they near
towards the shore, they bathe their feet,
I sigh and think of home,
the wheat,
that floats and ripples through the air
just like the wind now through my hair.
(Excerpt from ‘His Ballard, Under Waning Moons’, 2018).
Robin stood long underneath the orange lit streetlamp and imagined each strand of his hair on fire
in the mid-November dark
every follicle on fire
every fibre on fire.
He shone briefly like a lantern in the sky
then flew from beneath the thickening burn out towards the others
stood upright and taut,
themselves stretched out like streetlights
all punctured in the ground.
Come out from under the night,
it’ll be easier said the tall shadow
her lips tightening as she annunciated.
Brown hair rushing down the rocks of her back like muddy waterfalls.
Face and attitude of a head girl in-waiting and all the authority.
Robin turned towards the shadow growing arms and legs then all the other bits.
Come out she said as if shadows knew what it meant to be bathed in light.
Not good light, but bad light.
Robin knew the difference.
Good light hugged him like his streetlamp.
Felt warm on his skin gave his flesh a golden glow
his hair a basket of brown hay now burnt rich and auburn like a dead thicket of fern.
Bad light was surveillance.
Followed you around and made comments.
Bad light pushed past the eyes and bore deep into the body.
Followed you indoors and rearranged the furniture.
Smashed glasses tore up books threw your good clothes on the floor and left you with the mess.
Clear-up takes years, thought Robin.
Clear-up is hard to do on your own.
(Excerpt from ‘Streetlamps’, 2025).