My process is closer to that of a painter than to most other photographers. I set out to make very specific images, often working from sketches. Sets are built, props sourced, and scenes staged into being in the physical world. Nothing in my work is generated or drawn from stock — everything in the frame existed, if only for a moment, in front of the lens.

Photography, for me, is a choice of speed and control, and necessary to keep pace with the images I want to make. A camera lets me build a world today and resolve it today.

Using a digital technical camera and compositing techniques rooted in darkroom traditions, I combine multiple exposures and layered perspectives into a single photographic tableau. The resulting images fuse psychological inquiry, mythology, folklore, dark humor, and cultural criticism. my images occupy psychologically unstable spaces — shaky territory between fiction and reality.

The work resists fixed meaning. Rather than delivering a single read, I construct images that hold projection, contradiction, and multiple interpretations at once. Titles function as directional cues rather than explanations; the images are built to outlive my original intentions. Taken together, they treat the contemporary psyche as something staged, fragmented, and perpetually under construction.