Photography for me is not a way of documenting reality, but a way of entering into relation with it. I am interested in the instability of perception — the distance between experience, memory, and image — and in the ways photography alters what it attempts to preserve.

Working primarily with analogue photography and instant film, I approach image-making as a slow and process-oriented practice shaped by attention, uncertainty, and trust. The delay inherent to film changes the experience of looking: the image remains unseen for some time, existing first as expectation, projection, memory, or doubt. I am interested in this space before visibility, where control becomes partial and perception remains unstable.

My practice moves between documentary observation and constructed intimacy. I often work through closeness, repetition, and duration, allowing the process itself to shape the image. Portraiture, for me, is less about representation than about the experience of being looked at and looking back. I am interested in vulnerability as a shared condition between photographer and subject — the mutual uncertainty of how someone will be seen, translated, or recognized through an image.

Influenced by a background in psychology, I think about photography as a mediated form of attention: a way of observing, processing, and reflecting experience rather than capturing objective truth. Recurring themes in my work include transitional states, identity, personal archives, memory, and the tension between presence and transformation.

Alongside analogue photography, my practice incorporates Polaroids, emulsion lifts, and the reworking of archival material.