Photography is an important and growing part of my artistic practice. I am drawn to images that invite attention and contemplation: animals, landscapes, traces of the past in the present, and bodies in carefully staged settings.
Much of my photographic work centres on animals and nature. I enjoy making intimate animal portraits — especially of cats — as well as quiet observations of natural environments. These images are rooted in care, attentiveness, and a deep affection for non-human life.
Another recurring theme is medievalism: I photograph medieval structures and atmospheres as they appear in contemporary settings — castles surrounded by cars, ancient stone next to modern infrastructure. These images explore how the past continues to inhabit the present, not as nostalgia alone, but as a living cultural layer.
Alongside this, I work with fantasy, mythology, budō, and music as visual themes. I am interested in how embodied practices, ritual, and imagination can be translated into photographic form.
I also enjoy working in front of the camera. For a number of projects, I have used myself as a model, often in collaboration with other artists and photographers. These collaborations allow for experimentation with identity, costume, movement, and narrative, and I am keen to expand this aspect of my practice further.
A key aspect of my photographic practice is a strong interest in historical and analogue photographic techniques. I enjoy working with alternative and tactile processes such as cyanotypes (blueprints), analogue film photography, and instant photography, including Polaroid and vintage cameras found at flea markets. These tools are not used out of nostalgia alone, but to explore chance, materiality, and the visible presence of time within the image.
Across all my photography, I aim to create images that feel attentive rather than spectacular — images that slow the viewer down, and invite them to look again.