Cat in My Studio

(2025)

I worked with my partner, sometimes-muse, and frequent collaborator, filmmaker Cat C. Haines, to make a series of intimate portraits in my studio. I decided to shoot in black and white and develop the film myself as a way of engaging with and referencing Cat’s practice as a process-based filmmaker. She walked me through developing the film in the make-shift darkroom she built in her basement out of garbage bags and duct tape. We used instant coffee, vitamin C, and washing soda as a developer. While this wasn’t my first experience with hand-processing film it was still a bit of a revelation. As filmmaker Morgan Sears Williams notes, “[hand-processing film with caffenol or] organic developers made from plant matter (also known as eco-processing) necessitates working directly with the film, resulting in an intimate collaboration between material, concept, and aesthetic.”

Cat in My Studio #2 (2025), Ilford HP5+ 400 shot at 1600 and developed in caffenol

Cat in My Studio #4 (2025), Ilford HP5+ 400 shot at 1600 and developed in caffenol

Cat in My Studio #6 (2025), Ilford HP5+ 400 shot at 1600 and developed in caffenol

[Redacted] 

(2024 - ongoing)

[Redacted] #2 (2024), scratched 35mm film (Psychedelic Blues #5)

[Redacted] #4 (2024), scratched 35mm film (Psychedelic Blues #5)

35mm Film

(2022 - ongoing)

Cas (2022), 35mm film

Tanya/Tamás (2022), 35mm film (Psychedelic Blues #5), taken at Do Trans People Dream of Nonbinary Sheep?, Tender Container’s peer-mentorship platform.

Jove (2022), 35mm film (Psychedelic Blues #5), taken at Do Trans People Dream of Nonbinary Sheep?, Tender Container’s peer-mentorship platform.

Aspen & Cat (2023), 35mm film (Psychedelic Blues #5)

Shapeshifter Diptych: Femme (2022), 16” by 22”, digital photograph on Hahnemühle photo rag, made in collaboration with Rose Butch at Do Trans People Dream of Nonbinary Sheep?, Tender Container’s peer mentorship platform

For Oswood (Floral Ghost)

(2021)

Estuary Ruins

(2021)

Estuary Ruins #2 (2021), 22” by 16”, digital photograph on Hahnemühle photo rag

Estuary Ruins #4 (2021), 22” by 16”, digital photograph on Hahnemühle photo rag

Transmisogyny Series: What did you do to yourself? (2021), 16” by 22”, digital photograph on Hahnemühle photo rag

Transmisogyny Series: DYKE

(2020), 22” by 16”, digital photograph on Hahnemühle photo rag 

Transmisogyny Series: Fishy (2020), 16” by 22”, digital photograph on Hahnemühle photo rag 

Transmisogyny Series, Installation view (In My Skin at Dunlop Art Gallery, 2022), photographed by Don Hall