My practice is rooted in personal experience and shaped by nostalgia. I have always been someone that feels things deeply, which roots back in my work. I have always enjoyed spending time in nature and travel, which is where my interest in photography started.

In my work I explore the relationship between memory, perception of the natural world, and capturing fleeting moments such as sunlight reflecting on water and the quiet presence of familiar landscapes. These moments often appear subtle or easily overlooked, yet they hold emotional weight. Expressing my emotions this way has helped me better understand the world around me. I am interested in how places and environments become intertwined with inner experience, and how memory continues to shape the way we see and feel long after a moment has passed.

My photography combines visual and written poetry, often taking the form of artist books.  These tactile and intimate formats unfold gradually, encouraging stillness, reflection, and open interpretation. The act of turning pages becomes part of the experience, mirroring the way memory surfaces in fragments rather than as a fixed narrative. Through image, rhythm, and text, I seek to create quiet spaces where viewers can pause and reconnect with their own emotional landscapes.

In Harrow on the Hill, I explore the lasting imprint of a formative place and its role in shaping identity over time. Traces of Abrasion* considers how passing moments leave lasting impressions, even as their details begin to soften, or blur over time. In Where the Waters Are Blue, I explore longing and the desire to belong, using water and landscape as metaphors for both emotional distance and connection. Across these works, I consider how individual experiences can extend beyond the personal, offering points of recognition and shared understanding.