Most of my images begin long before the camera is involved: in sketches, diagrams, and written notes about tone, color, or psychological tension.

From there I build the photograph the way one builds a small film set — sourcing props, directing models, shaping light, and constructing the environment as precisely as possible.

I aim to bring the image into being in reality, through physical intervention in the world. The camera is the stand-in witness to a scene that has been lived into existence.

This process lets me push the images toward the mythic and the psychologically charged. Meaning emerges, but I don’t force it.

My work reaches for truth through constructed realities.