The series of photographs that comprise Frequency, is developed from scientific transect data gathered by researchers at Heron Island following the March 2024 bleaching event. These double-printed images layer both positive and negative images, combined using the principles of solarisation and experimental printing methods. The process involves intentionally bending the colour spectrum outside its traditional range, creating distortions and luminous effects that echo the spectral qualities of light underwater. Pluta draws on the phenomenon of ‘fluorescence upregulation’, where during coral bleaching events, coral can produce vibrant fluorescent pigments as a temporary defence against stress, such as rising ocean temperatures. These pigments act like sunscreen, absorbing harmful light and re-emitting it in vivid greens, blues, and pinks to protect the coral’s tissues. This luminous phenomenon, while strikingly beautiful, is a poignant signal of ecological distress, reflecting the fragility and resilience of coral ecosystems under threat. Pluta’s work, in many ways, aims to surge colours available to create in the darkroom to signal a kind of SOS. The intermittent flashing of the laser disrupts the integrity of the coral’s representation, signalling the disruption caused by bleaching and the limits of human perception.



In the context of this project, the title frequency refers to more than just the scientific measure of light waves or cycles; it embodies the rhythms, shifts, and disruptions inherent to both ecological systems and the photographic process. The term signals the dynamic interplay between light and material, where each gesture—whether the bending of light underwater, the layering of exposures in the darkroom, or the fragility of coral ecosystems—carries its own rhythm and resonance. These large-scale, hand-printed C-type photographs allude to the imperceptible forces that shape the work, reflecting the delicate balance between perception, materiality, and environmental change.