Jandrell’s projects often unfold as interconnected inquiries, unified by an attentiveness to transitional states—moments in which certainty falters, the familiar becomes uncanny, and the real begins to blur. A recurring concern throughout her practice is the instability of visual conventions.

Jandrell’s photographic projects have drawn on the visual language of documentary photography—its clarity, neutrality and authority—while situating it within fabricated or choreographed environments. By doing so, she exposes how easily artifice can be naturalised and how globalised landscapes such as theme parks, botanical gardens and curated leisure sites package nature, culture and identity into consumable experiences.

These constructed environments become spaces through which she examines agency, spectacle and the choreography of collective behaviour.

Her installations and films further probe the mechanics of perception. Using looping structures, fragmentation, mirrors and spatial layering, Jandrell complicates orientation and narrative, encouraging viewers to engage actively with the work rather than absorb it passively. The result is an encounter shaped by accumulation, interruption and spatial navigation—an experience that mirrors the unstable, uncanny conditions she investigates.