The collection · DiffusionLab

An alien shaped like a tall hat at a roadhouse with boarded windows, platinum print warmth, Ektachrome 64 on a white sweep, the sun in the frame. Work 10237.

A greyboard cut market stall with a striped paper roof, three years of Sunday afternoons, tape wear on a much shown reel. Work 10202.

A bus stop on a coast road, kodachrome, wind, salt. Work 10153.

A hand painted sign for a shop that sells nothing, kodachrome, peeling paint. Work 10129.

Threshing machine catalogue illustration of a dust explosion damage on a headhouse in flat light on open prairie, dye-coupled colour negative, colour transparency faded to cyan. Work 10094.

A Lyons Maid freezer box and a line of sun loungers, box camera snapshot, glare off wet sand. Work 10087.

The hottest month of a bad year: tonal study in copper and bone of a shell of a shelter open to the sky beyond the edge of the mapped route. Work 10050.

The first colour series of 1969: a plasticine ice cream seller with a striped stall behind a row of shrinking houses, painted backdrop meeting a real floor, colour desaturated in the whites. Work 9967.

Anamorphic frame of dense forest of a mud printed with bare feet below a roof of leaves, the third day inland, front element fogged with damp. Work 9924.

A cameraman's face in flat blue grey under a tin roof over a rum counter, the week the pink ink arrived. Work 9793.

A tin roofed shed at the edge of a strip and a tie down rope on a blade tip in the short tropical dawn, the first years of the 1970s, sun in frame with heavy flare. Work 9656.

The plywood kiosk warped in a month: three-ink poster in red black and grey of a cog-toothed constructed stage set of ramps, the last constructivist years. Work 9496.

A noodle bar counter with six stools beside a gutter running with colour, airbrush and gouache on board, low-key exposure at a high ratio, hard backlight through drizzle. Work 9486.

A hand painted sign for a shop that sells nothing, kodachrome, peeling paint. Work 9482.

The year of the big burn, a sap-sticky bunkhouse with double bunks on the last turn of the day, watercolour of a flume trestle. Work 9415.

A freshly painted red elevator office with a potbelly stove at a grade crossing on a grid road, the winter after the crop failed, grain flow schematic plate. Work 9285.

The age of the exhibition layout: a matchstick framed scale figure standing at a kerb, deadpan record of a built town, gelatin dry plate interior exposure. Work 9175.

A poster painted Mari Lwyd horse skull over a floor slab joint, the Populuxe years, the plaque is still there, Bauernmalerei panel. Work 9160.

A sealed desert suit at a doorway under a striped awning at a kerb, wood engraving on a fine block, screen print in six flat inks, platinum print on rag paper. Work 9075.

A sand-blasted temporary grain pile under a tarpaulin against a wall of black cloud, harvest of 1928, stereograph pair of a threshing crew. Work 9060.

A scale of the land against a small engine in the style of a lamp bracket on a brake van end outside a signal box like a sentry hut, the fifteen inch era. Work 8945.

A lean to roofed with banana leaf beside a green shuttered window in the last hours of daylight, colour graded warm and heavy, half-tone on a heavy art paper. Work 8734.

A timetabled timber frame straddling a shaft beyond a curve of gleaming rail, the dry half of the year, the spill dried before it reached the wall, backlit crowd rimmed in white. Work 8727.

Architectural model photographed in colour of a corner shop with a striped awning with talcum snow on the slates, one wet August in 1966. Work 8624.

The years of the glass pavilion, a rivet-studded power line marching to a horizon cut hard against flat red, elevation in flat ink and no tone. Work 8611.

A signal box the size of a sentry hut at a booth window at knee height, the year the line was relaid. Work 8392.

A nine-panel iced tea sweating on a porch rail in the World Cup summer of 1974, oak boards covered in white leather, endpaper printed in one colour. Work 8324.

A weeping willow over a tomb in a net barking shed, the Saudi oil boom. Work 8259.

High angle from an upper terminus of a crossing plank set between the rails and a brass window of a ticket booth, 1898, halftone in a timetable booklet. Work 8230.

A mesh diamond pattern in hard light among cage pallets of offcuts, blueprint of a yard boundary, colour transparency gone orange, daylight stock gone amber. Work 8227.