STATEMENT
My practice investigates the subtle, the invisible, and the nearly imperceptible, exploring how light, time, and technological mediation shape our experience of the visible.
I work through what I call luminous minimalism, a language grounded in reduction, fragility, and perceptual attentiveness. Across photography, installation, sound, and moving image, I develop works that operate at the threshold of visibility; spaces where an image appears in a state of near-vanishing, and where perception becomes unstable, delayed, or incomplete.
Using minimal gestures, brief exposures, and time-based variations, my process allows the work to emerge slowly, as an atmosphere more than a fixed representation. I am particularly interested in the moment just before an image becomes legible, or when it begins to dissolve—where meaning shifts from being descriptive to being perceptual.
More recently, my work expands into a dialogue with scientific and technological systems of observation, exploring how images are constructed through instruments, data, and processes of translation. In this context, visibility is no longer understood as direct access, but as a mediated condition shaped by scale, time, and interpretation.
I seek to slow the mechanisms of seeing, inviting a slower, more attentive mode of looking in which perception becomes conscious, fragile, close; where the minimal becomes unexpectedly abundant.
Influenced by phenomenology, optics, and the epistemology of the image, I approach light not as a tool of representation but as a material threshold; something that reveals, distorts, intensifies, or fails. My practice proposes that what we see is never given, but continuously constructed, and that it is often in the barely visible, the incomplete, or the unstable where perception becomes most active.
In the faint, the subtle, and the almost-nothing, perception becomes active, opening spaces of presence, curiosity, and quiet revelation.