Exhibition Date
Opening Reception
Thursday 27 March 2025, 6 > 8PM
Visual
Rating 100%
The Linden Projects Space can be accessed via an older lift that is not DDA compliant and requires staff operation. Our team is
always available to assist—please let us know if you need support during your visit.
In The Residue of Intimacy, Aurora Burnett Kuhn explores the intersection of darkroom photography and intimacy, examining the lingering presence of touch, memory, and desire. For Aurora, the darkroom is not merely a site of production but a space of devotion—an active collaborator in the act of making.
Desire plays a central role in Aurora’s work, both in subject and methodology. She has documented the body of her boyfriend Kirill on 35mm film, then revisiting these images in the darkroom, where memory and longing take material form. Inspired by filmmaker Luca Guadagnino and photographer Man Ray, Aurora abstracts the human figure, fragmenting it into textures of skin, folds of fabric, and fleeting impressions of presence.
The darkroom’s red glow mirrors the warmth of intimacy, transforming photography into an act of preservation and performance. Imperfection
becomes intrinsic to the work, echoing the nature of love—fluid, evolving, and deeply felt. The lingering residue of intimacy is at the core
of her images, where textures, dust marks, and the handprints left from hours of printing become as significant as the images themselves.
Through this process, Aurora’s work intertwines labour and intimacy, allowing the physical handling of the paper to shape and warp the final
print, embedding emotion into every layer of the image. Each photograph carries the physical traces of its own creation.
Aurora Burnett Kuhn's practice explores darkroom photography as
an intimate, tactile process. Her work captures the traces of touch, memory, and desire, with each print bearing physical imprints of
its making. Abstraction and imperfection mirror the fluid nature of love, transforming photography into a meditation on presence and
longing.
