In the darkroom, Pluta abstracts the source image beyond the point of legibility and into a series of striking blue and pink colour fields. She achieves this by manipulating the projection of light onto photographic paper with a range of experimental processes including a disassembled camera lens. Released from the precision of their manufactured casing, the unstable lens glass components cause the negative image to collapse and shift, slipping in and out of focus during and between each exposure.
 


Pluta both mythologises and disrupts this moment within her personal history, underscoring the fallible nature of the medium while subtly proposing that memories may be as malleable as light. Complementing the suite of photographs is a set of Lumen prints - of the disassembled camera lens in question – whose ghostly contours of repeating circles fixed to the photographic paper by solar exposure form a kind of photogenic drawing; and a bronze sculpture of the artist’s hands that reveal a negative-space mould of the camera lens’s constituent parts. 
 


Image after image continues Pluta’s two-decade practice of utilising analogue photographic techniques and processes to fragment, reconfigure and re-contextualise images, both original and found. Her work is driven by her experiences of migration, globalisation and a fundamental desire to understand the world around her.