About.

My practice began in fashion and advertising photography, where I learned to construct images with precision and control. I was good at making things look a certain way, but for a long time I did not know how to think about what that beauty meant. I made a lot of very pretty, very boring work.

In recent years, I have become interested in the things we do that do not quite make sense. We say we value privacy but choose convenience every time. We hate AI while using it for everything. We build identities online and then discover those identities are shaped by what others have said about us, by algorithms we do not understand, and by archives we cannot access.

I am not interested in proving these contradictions are bad or good. I am interested in the moment when you notice you are doing it too, and you realize there is no easy answer, and you keep going anyway because what else can you do.

I use digital tools like 3D rendering, AI, and interactive systems because they make visible something that has always been true. We have never had as much control as we pretend. We have always formed attachments to things that cannot reciprocate.

In Meet Eva Here, people talk to an AI companion knowing their words might become public art. They do it anyway because the need to be heard outweighs the awareness of extraction. In After Ophelia, I showed how a character who spoke fewer than 60 times in Hamlet has been buried under centuries of other people's interpretations.

I am not trying to solve anything. I am trying to point at things we have normalized without naming them, creating a moment where someone might think "oh, I do that too" or "I have felt that but did not know how to say it."