If you’ve made it this far through the images — thank you! Here’s a little about the way I work…
For my personal projects, I only ever shoot on 35mm film. I’m drawn to its softness, its imperfections, its unpredictability. Shooting on film feels like an adventure — a quiet collaboration between the light, the space around me, and all the tiny, uncontrollable elements that drift into the frame. I love the suspense of not seeing the image right away. There’s something beautiful in the waiting — in not knowing. That delay keeps the process alive for me. It makes it more intuitive, more open.
I used to focus almost entirely on urban environments — drawn to derelict buildings and construction sites, fascinated by the sculptural language of architecture and the imposing forms that shape the skyline. Cranes, lampposts, pylons — they feature heavily in my earlier work. I’ve always been interested in awkward perspectives, in moments when the sky overtakes the frame. During this period, isolation played a significant role in my work. The absence of human life often speaks to loneliness, but it also introduces a kind of surrealism. A dreamlike stillness. Moments that feel slightly detached from reality.
As I began to travel through more rural environments, my focus shifted. I started to find beauty in organic forms, in landscapes — and eventually, in people. But my intention remains the same: I’m still searching for abstraction and beauty in the mundane.
I aspire for my photographs to sit somewhere between photography and painting. Somewhere between reality and imagination — like the memory of something fleeting, or even a dream.