In this new body of work, Faulkner examines the limits of image-making. The shifting relationship between the artist’s hand and the autonomy of materials remains central to his practice.

In Untitled (Flower I), Faulkner works against the logic of traditional photographic processes. Using a black-and-white negative, he prints onto colour photographic paper with colour chemistry. The resulting colours bear no relation to the original scene, but are instead determined in the darkroom, allowing the photograph to become as much a document of its own making as of the subject he is depicting. As the chemistry changes throughout the printing process, subtle variations in colour emerge, allowing the materials themselves to influence the final image.

This material autonomy extends to Dust I, a camera-less photographic work in which dust accumulated within the enlarger is projected directly onto photographic paper. Its minute particles constellate to form an image suggesting the depth and expanse of stars. By removing the negative, Faulkner brings the unseen conditions of the darkroom into focus, allowing the process of image-making to become the subject itself.

Alongside these works, Faulkner presents a series of sculptures based on books from his own studio library. Their open pages are reproduced in folded and curved sheets of brass, electroplated with recycled silver. Drawing on Jorge Luis Borges' The Library of Babel, the mirrored pages are void of text or imagery, yet through their reflections they hold the potential to contain everything. Faulkner returns to silver for its capacity to reproduce the world, both through its light-sensitive properties and its inherent reflectivity. Sensitive to touch and environmental conditions, the surfaces gradually accumulate traces of their surroundings, recording information beyond the artist's control.