Photography, for me, is less about appearances than about excavating presence. My work begins with light and shadow, but it always returns to memory: what is preserved, what is forgotten, and how images shape the way we carry our stories forward. I work at the intersection of portraiture, social narrative, and long-form projects, creating spaces where individuals and communities—often overlooked or marginalized—can be seen, heard, and remembered on their own terms.

Influenced by the clarity and intensity of Robert Mapplethorpe, Richard Avedon, and Irving Penn, I approach portraiture and still life with a dramatic, pared-down aesthetic—often one or two lights, shallow depth of field, and deliberate contrast. In this stripped-back space, every gesture, silence, and shadow begins to speak. I am drawn to the tension between intimacy and distance, between isolation and connection, and the way photography can hold both at once.

My practice is guided by process as much as outcome. I move fluidly between digital and film, using each medium’s limitations to interrogate habits and expectations. I work in long-form projects and live, participatory experiences, trusting that patience and attention—rather than spectacle—allow stories to surface. When creative resistance arises, I return to fundamentals: light, lens, and intent, building forward from clarity rather than assumption.

Conceptually, my work explores resilience, vulnerability, and the traces of personal and collective history that live in the body. It is purpose-driven rather than message-driven, seeking not to instruct but to witness: to sit with contradictions, solitude, and struggle, and transform them into images that carry dignity and meaning. Every photograph I make carries a piece of myself—sometimes clarity, sometimes mystery—but always reflects the human need to be remembered.