​Wetland environments act as a catalyst for my transmedial curiosity. This interest drives the alignment of data through touch from the codec of a traditional etching process into the digital space. Abiotic chemical reactions morph with digital technologies in my artwork to regain a tangible reaction from the digital world. Recognising anomalies when a digital or material investigation is interrupted by inherent disturbances, offers a new dynamic to question the effect of digitalisation on knowing. The rapid evolution of technologies’ control over the collection of any data is possibly dangerous. If the term ‘dangerous’ is construed as the chance of a loss, it can also be perceived as an opportunity to reconstruct the diminishing traditional etching aesthetic. This aesthetic calls for a material presence within the digital environment as a remedy for digitalisation. I acknowledge transmuting forms; reminiscent of printmaking’s constant transformation alongside technology and significances of such innovations affecting real-world places, that are vital to progressively question our apparent trust in digital data.