My doing, making and thinking centres around the twin concerns of embodiment or ‘embodied thinking’ and matter or substance in relation to the photographic act and the photograph. Conceptually and materially, I am exploring the sensorial, perceptual, cognitive dimension of the photographic act, implying that the act itself is connection-making, rather than spectatorial or non-participatory. Involved in this question of an embodied photography (or a photography-according-to-the-camera-user) is a rethinking of the photograph in deference to that embodied, nodal act — for, I assert, the photographic image is not a record of an object-by-itself but a correlation of the photographed object to the body of the camera-user — a body which is oft-concealed from view in the product of the photograph but which is nonetheless essentially present (perhaps this is ‘the little eidolon’ sensed in the photograph by the viewer?). I am currently rethinking the matter of the photograph via the act of weaving. I am drawing back the object of the photograph to and through me (the body of the camera-user), a reconstituting or a re-embodying or a reclaiming of it. The weaving becomes a re-enactment of the original, embodied experience from which the photograph issued. Thinking of the photograph as a piece of fabric, I emphasise its multiplicity and its ultimately indeterminate, liminal status, that it is by nature a borderland, an inbetween-ness, a correlation; it represents a state of flux between two or more terms.