Artistic Statement

After stepping away from a twenty-year career in visual communication, I returned to the image as a way of seeing. Despite my experience in drawing and painting, the camera became my chosen tool for working with reality through time, gesture, and attention.

My current practice grows out of artistic traditions that altered how painting and photography are perceived, shifting focus from description toward experience. From the freedom of the Dadaists and the Irascible 18 to photographers such as Ernst Haas, Saul Leiter, and Wolfgang Tillmans, these approaches opened a space where the image could operate beyond illustration or persuasion.

In a time shaped by generative imagery and artificial intelligence, I work against speed by choice. As simulation becomes increasingly precise and images grow interchangeable, I turn toward the physical conditions of the photographic act. My works are not simulations and do not describe the world, but register contact with it.

Materiality and scale are essential in my practice. Large-format prints allow details to surface; at close range, attention slows. The image unfolds through rhythm, density, and variation, becoming a space of experience rather than a surface to consume.

Because each photographic event is singular and irreversible, most of my finished works are presented in editions of 1/1, in a size specifically determined for the image. For me, the mounted and framed print is the final form of the process, where the trace of reality becomes physically fixed and perceptible.

Recognition

Public artistic activity since April 2025:

Full Frame magazine — contributor since May 2025.

Artsper — featured artist since May 2025, presented as “new and remarkable.”

FStoppers — Photographer of the Month (June 2025); Picture of the Day; Editor’s Choice; Photographer of the Year nominee.

Der Greif — selected by curators for the Guest Room What (Dis)Appears, July 2025.