24/09/2026
's Ecological Wetroom begins with a part of photographic practice that is usually kept out of sight: what happens to water, chemistry and material residue once the image has been made.
Rather than allowing these materials to disappear down the drain, Scholz collects, observes and recirculates them. Washwater moves through a deliberately low-tech filtration system made from accessible materials such as gravel, sand and activated charcoal, before entering another stage of the installation involving hydroponic plants.
Filtration is not treated simply as a technical solution to photographic waste. The movement of water itself becomes visible and becomes part of the work. Sediment, mineral material, plant roots, filters and changing water conditions are all exposed rather than hidden inside infrastructure.
This distinction is important. The Ecological Wetroom is not presented as a perfect sustainable solution. It is an experiment. It asks what might happen if photographers continued paying attention to materials after their immediate usefulness had ended. Perhaps the most significant idea within the Ecological Wetroom is that the making of a photograph does not necessarily end when the image is finished.
Its materials continue moving through other systems. The water matters. The residue matters. The infrastructure matters. And what happens afterwards can also become part of the photographic process.
You can join Aindreas Scholz in New York this October for two events exploring ecological photography, early processes, and material experimentation:
Artist Talk: Unfixed Landscapes
🗓️ Thu, Oct 8 | 5:00–6:00 PM
BAXTER ST at CCNY (154 Ludlow St)
An illustrated talk connecting Scholz's ecological practice with early photographic research, rethinking historic processes through water, chemistry, and environmental responsibility.
Workshop: Cyanotype to Concertina
Building a Folded Sequence
🗓️ Sat, Oct 10 | 11:00 AM–5:00 PM
Center for Book Arts
A one-day hands-on workshop guiding participants to create cyanotypes and assemble them into a concertina artist’s book grounded in climate-adapted practice.
