My work begins with the uncertainty of looking. I live with impaired vision, and what I see is never fully fixed or reliable. I do not use the camera to capture clarity or guarantee certainty. I use it as a conceptual tool shaped by altered optics, damaged surfaces, obstruction, and touch.
Working without digital correction, I build instability into the photograph from the start. Focus does not fail by accident. It is part of the work’s structure, formed through handmade lenses, aged glass, altered sensors, translucent gelatin, and materials that bend, soften, or partially block what is seen. These obstructions give shape to uncertainty, protection, and the limits of memory. Light and time become unstable materials, altered by the body, the camera, and the surface.
Across photography, film, monoprint, and installation, I treat light and time as my primary medium. The work shows how perception breaks down, how experience is rebuilt from fragments, and how the photograph can become something other than evidence. Sharpness does not equal truth; it only gives the illusion of certainty. I want the work to behave less like a record and more like memory itself: unstable, protective, partial, and momentarily alive.