2026, residency. Exploring phytography in the semi-desert Mediterranean steppe, Griffiths combined solar UV, large-format microfilm, and plant-based photochemistry to record botanical 'stress responses'—a process attuned to his personal period of neurological transition. Formulating toners from Aleppo pine, almond, and olive trees, he brought the rational, informatic sensibility of document film into contact with the agency of plants as they transcribe their architecture onto the emulsion, recording ecological resilience across Joya's terraces and the Sierra María mountains.
2026, workshop. The Whitaker Rawtenstall, UK
Transforming microfilm into a site of botanical co-creation using flora collected from The Whitaker’s grounds, participants applied plant phytochemistry directly onto the archival surface. Visitors inspect these visual records using vintage microfiche readers, turning a historical tool of bureaucratic control into tactile encounters with local ecological time.
2026, phytogram on microfiche, lightpanels, 960 x 680mm.
The chaotic chemistry of microfilm and Arundo donax (Giant Reed), an energetic plant known as both an aggressive colonizer of freshwater and a purifying filter for contaminated water. Part of Griffiths’ current work combining botanical developers and archival photomedia as a lens to observe plant agency.
Installation view: Soft Proof, Rogue Studios, Manchester.
2022, 1:00 min video loop, lightbox. Commissioned by Salad, for A Modest Show (British Art Show 9).
Depicting the inscription of a Roman numeral onto a whale vertebra, the film critiques speculative digital currency. It contrasts the material permanence of a biological relic against ephemeral crypto-assets, reframing the token as a tangible, laboured tally of time.
2016, 35mm microfilm collage and reader, 350 x 400 x 350mm. Commissioned by Arts Catalyst and Z33 House for Contemporary Arts.
A zine documenting HADES underground research lab in Belgium. Assembling photographs, cartoons, poetry, and interviews with scientists and local activists, it maps research into deep-time radioactive-waste disposal as a durable, analogue remembrance artifact for far-future readers.
2015, 35mm microfilm collage & reader, 350 x 400 x 350mm. Commissioned by Centre for Archaeology, funded by Rothschild Foundation.
Created with forensic archaeologist Dr Caroline Sturdy Colls, this microfilm zine re-frames excavation data from Treblinka extermination camp as a layered miniature map of trench finds, prompting viewers to optically uncompress historical evidence.
2015, 35mm filmstrip performance, 240 mins.
Projecting an archive of vintage geography filmstrips across multiple screens, this durational performance observes 20th-century visions of globalised trade and labour, examining how colonial geopolitical narratives are constructed and transmitted through institutional media.
2014, geotagged photocollages, online API hack. Commissioned by Full Circle Arts.
Probing Ordos-Kangbashi, a sparsely populated 'ghost city' in Inner Mongolia. Viewers zoom through dense snapshots of neon sprawl amid the ancient steppe, to observe a cityscape at the onset of economic acceleration.
2013, microfiche 148 x 105mm, audio recordings. Commissioned by Lincoln School of Art.
An expanded photograph documenting the satellite detection of a 300-millisecond gamma-ray burst. Created with a team of X-ray astronomers, it combines data, images and sound of NASA teleconferences and laboratories, to observe how technical instruments archive deep-time cosmic cataclysms.