I make images that expose the fragility and constructedness of contemporary visibility. Working through digital photography, I develop techniques that push against the seamless aesthetics of algorithmic vision — using banding, overexposure, compression artifacts, and post-processing interventions to surface what digital systems normally conceal. I call many of these works sensortypes — recursive photographs that reveal the technical scaffolding of seeing in the digital age.

Rather than using the camera to represent, I use it to probe. My work investigates how everyday objects — including my own body — interact with the sensor, lens, software, and computational defaults that mediate their appearance. These interactions are not symbolic; they are material events, shaped by the logic of image-processing systems. I’m not interested in storytelling or identity performance. I’m interested in how bodies and materials push back against systems of legibility.

My practice is rooted in a refusal to treat the image as a carrier of external meaning. Instead, I approach photography as a visual system — a recursive apparatus shaped by historical conventions, software defaults, social feedback, and machinic perception. This interest aligns my work with structural film, process-based abstraction, and contemporary media theory, particularly around notions of recursive aesthetics, signal loss, and the politics of digital clarity.

I see the image not as a picture of the world, but as an architecture — a structure built through layers of mediation. By revealing where this structure fails, distorts, or begins to collapse, my work asks what else an image can be, and what forms of perception might still be possible within — or beyond — computational systems.