In 1952, one August evening, floods caused by extremely heavy rain engulfed the village of Lynmouth on the southern coast of England, destroying the village and killing thirty-four people. Officially attributed to “the hand of God,” the disaster has long been shadowed by evidence from declassified government files suggesting links to early experiments in artificial rainmaking (cloud seeding), known as Operation Cumulus.

Cloudbusting uses this contested event to explore how rumours, images, and conspiracy theories circulate over time, from local testimony and archival photographs to contemporary social media narratives around geo-engineering and “chemtrails.” Through archival research, photography, and moving image, the project examines photography’s ambiguous status as evidence, and what these persistent stories reveal about trust, state secrecy, and the human need for answers in a moment when truth is increasingly unstable.

When the sky is pink, I regret nothing confronts a wound passed quietly through the artist’s maternal lineage: sexual abuse and the devastating silences that allow it to persist. Rooted in the artist’s childhood experience, the project deepened when she discovered that other women in her nuclear family had endured similar abuse, leading her to question how trauma moves through generations and whether such wounds can be inherited.

The artist investigates personal and family archives, explores spaces within the family home, and studies literature on how sexual abuse impacts identity formation. She also examines the Peruvian political landscape surrounding family abuse, including the legal and emotional complexities of accusing someone within one’s own family.

She positions herself as the protagonist, beginning with her childhood self and moving through her Andean background and the experiences of other women in her family, revealing their connection through shared trauma and shared questioning.