485 million years ago sediments from unnamed volcanic eruptions slowly settled on the hillsides of unnamed mountains. Compressed over millions of years, these sediments combined, forming blueish grey stones, stones that now constitute slate, a defining feature of the landscape and culture of North Wales. The inactive Dinorwic slate quarry and the peak of Yr Wyddfa (Snowdon), the highest peak in Wales lie only a few kilometers from each other. The peak of Yr Wyddfa was at the heart of a Victorian tourist industry, while the Dinorwic Slate Quarry was the second largest in the world, roofing much of the industrial revolution in the UK and across Europe. Both locations carry deep photographic pasts, romanticised inscriptions of a serene and industrially prosperous landscape. Projections of 'nature' that have seeped into the landscape today, producing a historicised landscape, where human history is presented with the valley as timeless. ‘I Stood at the Foot of a Mountain’ looks to the material histories of slate to consider the temporal and spatial realities that exist within both locations. Reconstitutions through time of the slate into culturally mediated forms, operational devices, and a post industrial landscape mark and break the stones slow lifecycle. The camera acts as a mediator of these histories, slicing out a moment of these stones' journey from dust to dust. Working within the impossibility of truly understanding non-human timescales the camera asks us to notice the collision of temporalities held within the materiality of this space. This allows us to step out of one temporality into another, to reflect on the projected image of one, on another. Through a re-mediation of space, the geological becomes an inflection point to consider how an anthropocentric vision of the past is re-inscribed on the present. ‘I Stood at the Foot of a Mountain’ records the forms and marks left on the stones of this particular geography, asking us to consider the possibility of accessing a sense of nonlinearity within natural space where human and non-human time-scales collide within the grains of stones. Image Information: All Images were produced on Large Format Film. Images: (Cyano 3, Cyano 5, Cyano_) are all scans of cyanotypes that have been bleached and toned in Welsh Tea. Each print was toned for a unique amount of time ranging from a few hours to one week. This print making process was a reflection of the temporality of a photograph and a place to create a sense of time, a sense of temporality that visually connects to the stone’s slow life cycle. Cyanotypes mimic the materiality of the stone, its color, its grain, an abstraction that provides a sense of disintegration or degradation of the image. An abstraction that allows us to access a small sense of the journey these stones are on from dust to stone to dust. Images: (Joseph_Kennel_I Stood at the Foot of a Mountain_11, Joseph_Kennel_I Stood at the Foot of a Mountain_12, Joseph_Kennel_I Stood at the Foot of a Mountain_13) were produced in the National Slate Museum (Llanberis, North Wales) that is part of Amgueddfa Cymru – Museum Wales.