Instant film is well known for its simplicity and immediacy. In a sense, the wish for a direct visible result, anticipated the desire that motivates and drives our accelerated social media culture today. In opposition to this ambition to speed up, to fix or immobilise a moment in time, I like to think of photography as layers of mineral deposits, as geological strata from which to excavate the chemical layers of the image.

100x100cm, chemically manipulated polaroid film expired since 1992

Using the photographic print as a repository of multiple temporalities,  the instantaneous moment of exposure along with the much slower actions of chemical erosion and destabilisation. Degré Zéro was re-photographed at several moments during its gradual destruction. The subsequent digital triptych is a conundrum in that it presents a selection of moments from within a relentless movement towards disintegration.