Bridget's chemigrams are made with silver gelatin paper, in normal room lighting, by applying oil-based resists and typical darkroom chemistry. The marks she makes directly on the paper are not pre-meditated. The process weaves her concerns of the evolution of photography as a physical and chemical medium with mark-making as an intuitive act. She aims to create a personalized symbolism through her marks, whether the pieces are immediate responses on paper, or constructed mappings in her collages. Each one is a language she reads through line, color, and texture that is indicative of steps involved in the chemigram process, as well as the instinctive gesture itself. They satisfy years of concern over the missing physical mark of the artist, and address her contemporary desire to work with a medium that she can not fully control. Her work responds to analog photography for its inherent chemical properties and future potential, rather than the sentimentality of its past.