I work within environments where perception shifts—primarily nightclubs, but not as a subject in themselves.

I’m interested in what happens when people detach from everyday behavior and enter states of drift—where identity softens and individuals begin to dissolve into light, sound, and atmosphere. These are not moments of performance, but conditions that only exist while they remain undisturbed.

My approach depends on remaining unnoticed. I don’t use flash. I don’t intervene. The camera is present, but it doesn’t announce itself. What I’m after disappears the moment it becomes aware of being seen.

Blur, motion, and grain are deliberate. They are not technical flaws, but a way of rejecting the rigidity of sharp, descriptive photography and moving toward something less stable, more intuitive, and closer to lived experience. Precision often neutralizes what I’m trying to capture; distortion allows it to persist.

My work extends beyond the human figure. I’m equally drawn to organic matter and urban fragments—flowers, animals, surfaces, and structures—in states of tension, transition, or decay. These elements are approached not as subjects, but as conditions: traces of processes that unfold regardless of observation.