Coconuts stand for leisure, and exoticism, and place, and travel and my mind started wandering thinking about
the possibilities of what I could do with it. So that’s how I ended up thinking about making images with the coconut. So I started off by making photograms—faces out of the coconut. I didn’t know that it would be funny at the same time. So I basically punched a hole through, I guess, the mouth of the coconut face, drained it, sawed the coconut in half to get all the meat, cleaned it out, let it dry in the sun for a little while. And then, when I do the exposure, I sandwich a piece of photographic paper in between the body, and then there’s a piece of tape over the mouth and I just open it and I do the exposure. Then I close it after the light hits it. And then in the dark room I just process the paper. I use coconut water in the development of the images, so I mix it with the chemistry and see if it will react in some sort of
way, so using the actual object throughout the process of making the
image. It’s something that you don’t really have a lot of control over in terms of clarity and focus and it’s a lot of experimentation so the images behind me are the ones that I thought were more successful in terms of finding
the bridge between the mood and the tone of all of the images together. I think there’s a lot of humour in the
work that I do as well and I think that building a selfie stick and mounting a
coconut onto the end of it, and taking it to tourist destinations, you know, is an absurd gesture to do, but I also think that it comments on how we’re obsessed
with place, and how we use objects, and how we photograph in this day and age.