Artist

This body of work examines landscape as a constructed and mediated space rather than an untouched natural site. By emphasizing horizon, atmosphere, and scale, the images explore how perception shifts when familiar environments are approached slowly and without spectacle. The landscapes function less as destinations and more as psychological spaces shaped by distance, repetition, and quiet observation.

These photographs focus on gas stations as transitional structures—places built solely for movement, pause, and consumption. Isolated from narrative context, the stations become symbols of routine and dependence, simultaneously familiar and anonymous. The work explores how utilitarian architecture reflects broader systems of mobility, labor, and cultural repetition.

This body of work moves away from representation and toward form, surface, and spatial relationships. Drawing from photographic source material, the images prioritize texture, color, and composition over identifiable subject matter. The abstraction invites viewers to engage with the image as an object rather than a record.

This series investigates signage as a visual language detached from its original purpose. Cropped, weathered, or partially obscured, the signs lose their directive function and shift toward abstraction. By isolating color, typography, and form, the work examines how meaning erodes over time and how communication becomes purely visual.

Walls and alleyways are photographed as overlooked surfaces that quietly record human presence. Marks, layers, and decay act as informal archives—evidence of use, neglect, and time passing. The work treats these spaces as intimate landscapes, where texture and repetition replace traditional subject matter.

Using large-format camera and expired Polaroid 445 film, this series embraces limitation, distortion, and impermanence. The immediacy and fragility of instant film contrast with the vastness of the landscapes depicted. The resulting images exist between documentation and abstraction, emphasizing process as an integral part of perception.

These Large panoramic works explore scale, immersion, and the act of looking. By extending the frame beyond conventional proportions, the images resist quick consumption and demand sustained attention. The panoramic format mirrors how landscapes are experienced physically—fragmented, continuous, and impossible to absorb all at once. They were created using multiple digital images stitched together and a 4x5 camera