Simpson creates working pin-hole cameras as both sculpture and technical tool, using them to produce photographs that are a snapshot of time and subject – singular, unique and impossible to recreate.
Her work is firmly rooted in the making and the exploration of materials and processes. This is evident in the diversity of work she produces from the construction of what she terms Simpson’s Packing Crate Cameras to the engineering and calculations needed to use them. Exploiting the oldest form of photography, using a pinhole, developing large format negatives on an industrial scale using bath tubs and traditional chemicals.
Simpson embraces alternative photographic processes with her multi-exposure cameras to allow subjects and landscapes to merge and interact with each other, creating a choreography of visual imagery. Process is intrinsic to the work and each image is treated as if it is a scientific experiment, fastidiously logging exposure times, dates, time of day and weather conditions allowing her to refine her exposures for the next take. Initially inspired by an art packing crate, Simpson continues to develop her work and research her unique sculptural approach to photography in inventive new ways.