On Reduction

I approach photography much like design. Through precision, patience, and the belief that meaning is built, not found. Each project begins as structure. Drawings. Materials. Calculations. Then, at some point, something slips through the technical frame. That unplanned moment is what I keep.

My fine art practice exists somewhere between control and surrender.

Black and white is not an aesthetic choice for me. It is a method of removal. Without colour, a face becomes architecture. A gesture becomes structure. What remains has no place to hide.

Behind the camera, the process is as physical as it is contemplative. Sets are built by hand. Prints are made through historical methods. Platinum. Palladium. Japanese paper. The image only completes itself on paper.

I do not believe art depends on the medium.

Whatever the material, the question is always the same: does it remain alive when you look at it?

Backstage of project S•he