With The Death of Every Moment, Jonathan aims to visually represent the fallibility he sees within the process of recollection, asking whether the machine can learn to visually replicate his fragmented encounters of the sublime.

He feeds the machine learning networks his personal archive of photographs. The objective here is to examine if the generative output shares the inherent fallibility of the ambiguous experience of remembering. He is keen to explore the potential dialogic and collaborative relationship between the Human and the Nonhuman, through the dissolution and entangling of the objective forms seen through a mechanical eye. This tension within an implicit symbiotic relationship releases the responsibility from him to record and (re)present reality, but rather it allows the work to express its potential for abstraction that could offer more insight than reality itself.

Through the physical generative labour with his darkroom process, he addresses the potential of tangibility by reframing them through alchemical experiments, working with liquid silver emulsion on paper as well as corroding metal sheets. With the organic reactions in both processes, there is a sense of unpredictability that is present, much like a sublime encounter for the very first time. A sense of tangibility has now been brought into generative outputs imbuing it with an Auratic experience. Jonathan thinks through this circularity of decay and deterioration, embracing the fact that it draws him back to the natural elements within a landscape.