I spent years moving between continents, cultures, classrooms, and visual regimes which shaped my attention that is less interested in explanation than in how perception behaves under strain. Trained in both journalism and design, I learned early to distrust surfaces and narratives that claim coherence. Photography became a way to remain alert when meaning begins to slip.
My work has been exhibited internationally and recognised through photography awards and publications, yet my focus has gradually shifted away from achievement toward inquiry. Across documentary residue and perceptual research, I continue to question authenticity as something lived, not claimed, asking how images behave when certainty collapses, and how much of ourselves remains visible when perception fractures.
My work has been exhibited internationally and recognised through photography awards and publications, yet my focus has gradually shifted away from achievement toward inquiry. Across documentary residue and perceptual research, I continue to question authenticity as something lived, not claimed, asking how images behave when certainty collapses, and how much of ourselves remains visible when perception fractures.
Project Statement
I work with photography at the point where documentary stops being reliable. I operate in liminal zones, between safety and threat, attention and withdrawal. My images linger in moments of hesitation, when looking turns unstable, sensed before it can be named. They emerge from states of vigilance rather than observation, shaped by silent tension and the instinct to protect oneself from being seen too clearly. What remains is how the world presses back.
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