This series emerges from the intersection of concert photography and neurological difference. Living with synesthesia and visual snow syndrome, my vision constantly shifts—colours flash unexpectedly, forms distort, and visual static overlays everything I see. Rather than treating these perceptual experiences as deficits to be corrected, I've developed a digital fermentation process that forces photographic data to undergo similar transformations.

Each image begins as concert photography captured in the chaos of live performance—moments of collective energy, sound, and movement. I then subject these photographs to iterative cycles of algorithmic corruption, intentionally degrading and reconstructing the visual information. The process mirrors my own sensory experience: chromesthetic colours bleed across the frame where sound translates to hue, systematic light bleeds overwhelm the composition as my visual snow does my sight, and figures dissolve into the networked static of collective perception.

The resulting images exist in permanent flux between documentation and interpretation, between the objective record of the camera and the subjective reality of atypical neurology. They challenge photography's historical claim to truthful representation by asking: whose vision defines photographic reality?

This work positions sensory difference not as limitation but as generative methodology. The "noise" that medical frameworks might seek to eliminate becomes the signal—revealing perceptual territories that expand our understanding of how images can function. Concert spaces, already sites of sensory intensity where sound and light merge, become laboratories for exploring alternative ways of seeing.

The series demands recognition that photography has always been mediated through particular neurological frameworks, and that expanding whose perception shapes the medium creates richer, more inclusive visual languages for contemporary image-making.