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. I build sets, source props, and stage scenes 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 my 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, and dark humor. 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.