Throughout its history, photography has been shaped by a collection of conventions that influence not only how images are produced, but how they are understood. As photographic technologies have evolved, so too have the expectations placed upon the medium, reinforcing an understanding of photography largely defined by its ability to represent the world around us. Yet, as these technologies become increasingly accessible and automated, the distinction between photographic possibility and predetermined outcome becomes increasingly difficult to recognize.

At the heart of my artistic practice lies an interest in questioning these conventions and examining the relationship between image, technology, and the individual experience. Drawing inspiration from disciplines and ideas often outside of photography itself, I seek to challenge the accepted notions of photographic representation through processes that disrupt the expected. Vilém Flusser argued that the experimental photographer attempts to produce images that escape the predetermined possibilities of the camera. Rather than viewing the limitations of photographic technology as an inevitable condition, I see them as an opportunity to examine the medium beyond its conventional applications.

Often my work employs photography, video, and performative or constructed processes to explore the relationship between an image and the conditions of its making. Whether through technological imperfections, unconventional methods of image capture, or the appropriation of existing media, these works attempt to expose the mechanisms through which photographic images are created and understood. In doing so, the photograph becomes more than a representation of a subject, functioning simultaneously as an object, an artifact, and a record of the processes that brought it into existence.