ARTIST STATEMENT
My work is built through construction. Rather than documenting existing situations, I develop images by creating environments in which narrative can emerge — combining location, objects, casting, costume, and light into a single photographic moment.
This approach draws from film production as much as from photography. Scenes are planned, assembled, and inhabited before they are photographed, allowing the image to carry the weight of something that has physically existed. The images are constructed and photographed as they appear, allowing situations that might seem improbable to exist within real conditions rather than post-production fabrication.
An important impulse within the practice is the willingness to attempt situations that initially appear difficult or improbable. The process is driven by curiosity and a sense of openness — a belief that images can emerge through experimentation and that creative limits shift through making. This allows the work to move between precision and play, where complexity becomes a space of discovery rather than an obstacle.
Scale plays an essential role in this methodology. Large-format images shift the viewer’s relationship to photography from observation toward presence. Figures acquire physical weight, environments unfold spatially, and small gestures become legible as emotional events rather than visual details.
AERONAUTICA extends this approach toward a quieter register. The work focuses less on spectacle and more on human proximity — how constructed situations can hold experiences of care, uncertainty, belonging, and movement. The introduction of transformed vessels continues an ongoing interest in objects as carriers of meaning, while the emphasis remains on people and the spaces they inhabit.
Across projects, the aim is consistent: to create images that allow viewers to linger, recognise fragments of their own experience, and encounter situations that feel both unfamiliar and deeply plausible.
