The project began during an early visit to Cornwall, before she relocated to the county, when she was struck by the extraordinary presence of giant Gunnera plants. Their vast, prehistoric leaves appeared uncanny—absurd in scale, alien, and unsettling, like specimens from a science‑fiction landscape. This first encounter seeded a curiosity about forms that sit uneasily between the familiar and the monstrous.

At the time, Jandrell was experimenting with the iPhone’s panoramic mode to create intentionally glitched landscapes. She turned this technique toward the Gunnera, using the camera’s distortions to amplify their already strange presence. The resulting images were warped, fragmented, and uncanny—photographs that seemed to hover between documentation and digital mutation.

Seeking to push the materiality of these images further, Jandrell developed a process for printing the screen‑based digital glitches in an analogue colour darkroom. She engineered a method for inserting an iPad into an enlarger, projecting the pixelated negatives directly onto colour photographic paper. Working manually with cyan, magenta, and yellow filters, she produced each print through a series of single exposures, echoing the trichromatic printing techniques used in the earliest colour photography.

This hybrid process became central to the work: a negotiation between the digital and the analogue, the indexical and the representational, the image and the pixel.

Throughout Monsters, Jandrell explores the slippages between these states. The project investigates thresholds—between narrative and surface, between natural form and digital artefact, between scientific taxonomy and mythic scale. Her interest deepened as she learned that the dramatic Gunnera plants are not, as long believed, benign ornamentals but invasive hybrids (Gunnera × cryptica) resulting from the crossing of Gunnera manicata and the highly invasive Gunnera tinctoria. This revelation introduces another layer to the work: the tension between what is perceived, misidentified, or hidden in plain sight.

Jandrell produced a very limited edition of unique colour photographic prints for this series. Through her combined use of glitch aesthetics, analogue craft, and botanical complexity, Monsters becomes a meditation on hybridity—both ecological and technological—and on the quiet disturbances that lurk within the landscapes we assume we know.