STATEMENT

I have never photographed to explain the world.
I photograph because some things are easier to recognize in an image than in yourself.

I am drawn to cities when they stop feeling familiar. Empty passages, artificial light, structures that seem too large, faces that watch from above, shadows that hide more than they reveal. I rarely know exactly what I am looking for. I only know when I have found it.

Black and white removes the comfort of distraction. What remains is structure, distance, tension and silence.

There is something deeply human in the way we build places that eventually become larger than us. We move through them, leave traces, disappear, and the city continues — changed by what happened, even when no one remains to name it.

Time does not leave these places untouched. It settles into walls, surfaces, damage, repairs, stains and absences. A city remembers without needing memory.

My photographs are not records of places I have visited. They are fragments of how those places felt while I was inside them.

I prefer not to explain everything.

Some things become weaker when they are named.

COLLECTIONS

AFTER ORDER

A five-image study of desire, surveillance, scale, confinement and disappearance.

Japan is not presented as a destination, but as a psychological landscape — a space where human presence feels temporary, exposed and increasingly small.

PARALLAX

PARALLAX explores New York as a city of layers.

Architecture, traffic, steam, signs and light overlap until the city becomes difficult to read as a single surface.

Every surface hides another.