I believe the bond we form between one another is the strongest force in our world. That bond, both its presence and its absence, is what my work responds to. One of the reasons we make art is to make proof of our existence. It serves as evidence for a life lived. This work is the evidence of myself and the people who I have connected with and been shaped by.

I believe the bond we form between one another is the strongest force in our world. That bond, both its presence and its absence, is what my work responds to. One of the reasons we make art is to make proof of our existence. It serves as evidence for a life lived. This work is the evidence of myself and the people who I have connected with and been shaped by.

I believe the bond we form between one another is the strongest force in our world. That bond, both its presence and its absence, is what my work responds to. One of the reasons we make art is to make proof of our existence. It serves as evidence for a life lived. This work is the evidence of myself and the people who I have connected with and been shaped by.

I believe the bond we form between one another is the strongest force in our world. That bond, both its presence and its absence, is what my work responds to. One of the reasons we make art is to make proof of our existence. It serves as evidence for a life lived. This work is the evidence of myself and the people who I have connected with and been shaped by.

I believe the bond we form between one another is the strongest force in our world. That bond, both its presence and its absence, is what my work responds to. One of the reasons we make art is to make proof of our existence. It serves as evidence for a life lived. This work is the evidence of myself and the people who I have connected with and been shaped by.

I believe the bond we form between one another is the strongest force in our world. That bond, both its presence and its absence, is what my work responds to. One of the reasons we make art is to make proof of our existence. It serves as evidence for a life lived. This work is the evidence of myself and the people who I have connected with and been shaped by.

My body of work "Ritual" examines womanhood in the realm of traditional mating rituals. By combining still life and self-portraiture, I shift the gaze from voyeur to muse. I want to examine performance, power and vulnerability. I incorporated clothing and objects that I inherited from my late maternal grandmother into the styling of this shoot. By pairing these inherited objects with organic matter that is symbolic to me, I attempt to examine the history of conception, domesticity, and matriarchy within my family.

Using the female form of my own body, I am both eluding to and rejecting heteronormative expectations of feminine sexuality. These images draw on Dutch paintings, vintage burlesque performances, 1950s food photography and depictions of religious deities. They were shot on 4x5 color Kodak film and a large format digital camera.

My body of work "Ritual" examines womanhood in the realm of traditional mating rituals. By combining still life and self-portraiture, I shift the gaze from voyeur to muse. I want to examine performance, power and vulnerability. I incorporated clothing and objects that I inherited from my late maternal grandmother into the styling of this shoot. By pairing these inherited objects with organic matter that is symbolic to me, I attempt to examine the history of conception, domesticity, and matriarchy within my family.

Using the female form of my own body, I am both eluding to and rejecting heteronormative expectations of feminine sexuality. These images draw on Dutch paintings, vintage burlesque performances, 1950s food photography and depictions of religious deities. They were shot on 4x5 color Kodak film and a large format digital camera.

My body of work "Ritual" examines womanhood in the realm of traditional mating rituals. By combining still life and self-portraiture, I shift the gaze from voyeur to muse. I want to examine performance, power and vulnerability. I incorporated clothing and objects that I inherited from my late maternal grandmother into the styling of this shoot. By pairing these inherited objects with organic matter that is symbolic to me, I attempt to examine the history of conception, domesticity, and matriarchy within my family.

Using the female form of my own body, I am both eluding to and rejecting heteronormative expectations of feminine sexuality. These images draw on Dutch paintings, vintage burlesque performances, 1950s food photography and depictions of religious deities. They were shot on 4x5 color Kodak film and a large format digital camera.

My body of work "Ritual" examines womanhood in the realm of traditional mating rituals. By combining still life and self-portraiture, I shift the gaze from voyeur to muse. I want to examine performance, power and vulnerability. I incorporated clothing and objects that I inherited from my late maternal grandmother into the styling of this shoot. By pairing these inherited objects with organic matter that is symbolic to me, I attempt to examine the history of conception, domesticity, and matriarchy within my family.

Using the female form of my own body, I am both eluding to and rejecting heteronormative expectations of feminine sexuality. These images draw on Dutch paintings, vintage burlesque performances, 1950s food photography and depictions of religious deities. They were shot on 4x5 color Kodak film and a large format digital camera.

I've executed a playful rebellion of logic, a space where the real and absurd coexist. Photography has traditionally been used as a way to depict reality and reality, is supposed to be accepted as the truth. But both of these beliefs have been distorted in these images, either through interpretation or because a three-dimensional structure has become distorted as a two-dimensional representation of a three-dimensional structure. I want these images to question any common agreements about what is "real" or what is "reality." I've reinterpreted laws of physics; the concept of upwards or downwards are reinterpreted.

The "asteroids" that I've created are micro planets and isolated urban landscapes where I use existing architectural structures as the building blocks for creating new structures. There are different vanishing points, horizon lines and proportions. The way that these new structures are assembled is an attempt to create a different reality.

I've executed a playful rebellion of logic, a space where the real and absurd coexist. Photography has traditionally been used as a way to depict reality and reality, is supposed to be accepted as the truth. But both of these beliefs have been distorted in these images, either through interpretation or because a three-dimensional structure has become distorted as a two-dimensional representation of a three-dimensional structure. I want these images to question any common agreements about what is "real" or what is "reality." I've reinterpreted laws of physics; the concept of upwards or downwards are reinterpreted.

The "asteroids" that I've created are micro planets and isolated urban landscapes where I use existing architectural structures as the building blocks for creating new structures. There are different vanishing points, horizon lines and proportions. The way that these new structures are assembled is an attempt to create a different reality.

I've executed a playful rebellion of logic, a space where the real and absurd coexist. Photography has traditionally been used as a way to depict reality and reality, is supposed to be accepted as the truth. But both of these beliefs have been distorted in these images, either through interpretation or because a three-dimensional structure has become distorted as a two-dimensional representation of a three-dimensional structure. I want these images to question any common agreements about what is "real" or what is "reality." I've reinterpreted laws of physics; the concept of upwards or downwards are reinterpreted.

The "asteroids" that I've created are micro planets and isolated urban landscapes where I use existing architectural structures as the building blocks for creating new structures. There are different vanishing points, horizon lines and proportions. The way that these new structures are assembled is an attempt to create a different reality.

I've executed a playful rebellion of logic, a space where the real and absurd coexist. Photography has traditionally been used as a way to depict reality and reality, is supposed to be accepted as the truth. But both of these beliefs have been distorted in these images, either through interpretation or because a three-dimensional structure has become distorted as a two-dimensional representation of a three-dimensional structure. I want these images to question any common agreements about what is "real" or what is "reality." I've reinterpreted laws of physics; the concept of upwards or downwards are reinterpreted.

The "asteroids" that I've created are micro planets and isolated urban landscapes where I use existing architectural structures as the building blocks for creating new structures. There are different vanishing points, horizon lines and proportions. The way that these new structures are assembled is an attempt to create a different reality.

I've executed a playful rebellion of logic, a space where the real and absurd coexist. Photography has traditionally been used as a way to depict reality and reality, is supposed to be accepted as the truth. But both of these beliefs have been distorted in these images, either through interpretation or because a three-dimensional structure has become distorted as a two-dimensional representation of a three-dimensional structure. I want these images to question any common agreements about what is "real" or what is "reality." I've reinterpreted laws of physics; the concept of upwards or downwards are reinterpreted.

The "asteroids" that I've created are micro planets and isolated urban landscapes where I use existing architectural structures as the building blocks for creating new structures. There are different vanishing points, horizon lines and proportions. The way that these new structures are assembled is an attempt to create a different reality.

I've executed a playful rebellion of logic, a space where the real and absurd coexist. Photography has traditionally been used as a way to depict reality and reality, is supposed to be accepted as the truth. But both of these beliefs have been distorted in these images, either through interpretation or because a three-dimensional structure has become distorted as a two-dimensional representation of a three-dimensional structure. I want these images to question any common agreements about what is "real" or what is "reality." I've reinterpreted laws of physics; the concept of upwards or downwards are reinterpreted.

The "asteroids" that I've created are micro planets and isolated urban landscapes where I use existing architectural structures as the building blocks for creating new structures. There are different vanishing points, horizon lines and proportions. The way that these new structures are assembled is an attempt to create a different reality.

From an ongoing series of alternative depictions of British landscapes.

From an ongoing series of alternative depictions of British landscapes.

From an ongoing series of alternative depictions of British landscapes.

From an ongoing series of alternative depictions of British landscapes.

From an ongoing series of alternative depictions of British landscapes.

From an ongoing series of alternative depictions of British landscapes.

China's economic development relies on the wealth of the urban population and an aspirational attitude toward consumerism. This series looks at the remodeling of two Chinese city centers into hubs of commerce. There are two different parts to this project, presented as diptychs. The first part is made up of vivid, colorful photos that peek through the rubble of the construction sites, mixing a bright consumerist aesthetic with the messy reality of the construction and demolition taking place. The second part is the street views which show the limbo-type place that people have to negotiate during this upheaval to their homes, workplace and way of life.

This project captures a significant moment of change for these cities and their inhabitants.

China's economic development relies on the wealth of the urban population and an aspirational attitude toward consumerism. This series looks at the remodeling of two Chinese city centers into hubs of commerce. There are two different parts to this project, presented as diptychs. The first part is made up of vivid, colorful photos that peek through the rubble of the construction sites, mixing a bright consumerist aesthetic with the messy reality of the construction and demolition taking place. The second part is the street views which show the limbo-type place that people have to negotiate during this upheaval to their homes, workplace and way of life.br>
This project captures a significant moment of change for these cities and their inhabitants.

China's economic development relies on the wealth of the urban population and an aspirational attitude toward consumerism. This series looks at the remodeling of two Chinese city centers into hubs of commerce. There are two different parts to this project, presented as diptychs. The first part is made up of vivid, colorful photos that peek through the rubble of the construction sites, mixing a bright consumerist aesthetic with the messy reality of the construction and demolition taking place. The second part is the street views which show the limbo-type place that people have to negotiate during this upheaval to their homes, workplace and way of life.

This project captures a significant moment of change for these cities and their inhabitants.

China's economic development relies on the wealth of the urban population and an aspirational attitude toward consumerism. This series looks at the remodeling of two Chinese city centers into hubs of commerce. There are two different parts to this project, presented as diptychs. The first part is made up of vivid, colorful photos that peek through the rubble of the construction sites, mixing a bright consumerist aesthetic with the messy reality of the construction and demolition taking place. The second part is the street views which show the limbo-type place that people have to negotiate during this upheaval to their homes, workplace and way of life.

This project captures a significant moment of change for these cities and their inhabitants.

China's economic development relies on the wealth of the urban population and an aspirational attitude toward consumerism. This series looks at the remodeling of two Chinese city centers into hubs of commerce. There are two different parts to this project, presented as diptychs. The first part is made up of vivid, colorful photos that peek through the rubble of the construction sites, mixing a bright consumerist aesthetic with the messy reality of the construction and demolition taking place. The second part is the street views which show the limbo-type place that people have to negotiate during this upheaval to their homes, workplace and way of life.

This project captures a significant moment of change for these cities and their inhabitants.