While in years of work as a fashion and portrait photographer my eye has worked to enhance a particular sheen, at some point, I’ve allowed myself to enter into a passive solemnity where only the sun is spotlight. The subjective view at the obvious reality became a key element for me.
My language is certainly personal, but my subjects, if we can call them that, betray a certain universality. Unlike in fashion photography, what I do is bring common scenes and objects that have their usual place or meaning to an another narrative without touching them, just through concentration on seeing the subject.
I am particularly interested in the “sudden” or “accidental” object, where all agency in a scenario is obscured, and disparate elements convene with the surroundings to create an image more compelling than any one individual could have intended. Harnessing the daylight at certain moments to show the static nature of change, I feel that my work is, in a sense, archaeology in reverse—flattening time to the point where the banal details of a shared history become simultaneous.
