The first knee-jerk response to this imagery is often to question how it’s made. Nathaniel, of course, works with digital doctoring, using post production in tandem with photography. This combination has always offered a way for the artist to “really reify” the worlds they want to inhabit. “I think so much of my ambition with my creative projects is about deepening my sense of hope and possibility,” she says. “Because I feel so often that you can get so mired in the day-to-day that it’s easy to lose sight of things, but, you know, you can create a world or an image that’s representative of a place that you want to live.”

Another common response to her work is more intuitive. The work Nathaniel shares is often met on Instagram with comments that describe how much the image, accompanying caption, or both, have resonated. Provoking such a reaction is an accolade many work up to over decades, but photography is actually a relatively new pursuit for Nathaniel, picked up while travelling – though creativity has been a long-running thread, in childhood, through to studying painting as an undergraduate.

The introduction of photography came with the reappearance of other themes in Nathaniel’s life. One was spirituality. Growing up in the Christian church Nathaniel found it difficult to tap into this part of herself within the structures of organised religion; “I really just wrote it off for a long time [thinking] that I’m not a spiritual person, or that’s just not for me.” A shift has transpired in the past five years, driven by a profound reconnection to the natural world. This pull to nature and wildlife directs and informs the images they make, sometimes in distressing ways; the ecological crisis is a recurring focal point for Female, prompting images that are increasingly apocalyptic.