Currently, I am discovering still images extracted from short films I’ve made—yet I

view these stills not simply as frames, but standalone pieces that exist independently

from their video origins. Each one is a stopped motion, a frozen fragment, holding its

own visual and emotional gravity. Severed from linear time, these images reject the

explanatory framework of their source footage. They do not serve the video; instead,

they generate their own context, offering a space dense with suggestion, and

interpretive freedom.

This process is not about clarity or confession, but about exposure: of the cracks in

moral certainty, of the erotic, of death, of the trauma of being formed and reshaped as

a subject. Paradoxically, through this hypermediated format — photography from

video — the work gestures toward a body unmasked by performance, towards desire

without justification.

I also practice classical photography and ceramic sculpture.

Things I cannot continuously see are infinitely more powerful than what I can. I am

trying to capture what lies beyond conscious awareness, influenced by my

nightmares, daydreams, and the balance of the abnormal within the normal.

Something that hints at the possibility that what you see in front of you might just be

a dream, something slightly off in the context of everything else appearing

completely as it should, or so it seems.

Central to my work is the body and the world it inhabits. Every body, and even the

surrounding space, carries evidence of a life being lived. My images are deeply

personal, shaped by an intense dialogue with my inner self, memories of unconscious

experiences like vivid nightmares, and the fascinating minds of the people I

photograph.

Artists who have influenced my work include Blue Noses Group, Serhei Parajanov, Francesca Woodman, Cindy Sherman, Roman Polanski.