Morning and Melancholia” a series of still-life photographs, focus on the relationship between narrative, visual information, and the flat surface of the picture. These photographs depict the “aftermath” of making food and eating it; greasy finger prints on a glass, wasps scavenging for something sweet, discarded worn-laden apples and fat-streaked knives began almost as details and elaborations from her earlier couples series “Venus Inferred”. In this work, she explores the formal relationship between ripeness and decay, delicacy and awkwardness, control and haphazardness, waste and plentitude, pleasure and sustenance.

The work was influenced by her fascination with Dutch-Flemish and Italian still-life painting, also a documentation of shifting social attitudes that were the result of exploration, colonisation, economic gain and seeing as truth/proof. However, she does not show interest in the allure of the meal that usually awaits some unseen viewer’s consumption, rather she is curious about this site after its objects have been touched, devoured and ignored. By photographing the remains of a meal and its preparation, she engages the photograph’s transformative qualities, changing what is typically cast aside into something beautiful.