I photograph the familiar world—children, families, landscapes, streets, and the places people inhabit—and look for the moments when it becomes something less certain.

My work begins with observation. I rarely construct photographs; instead, I return to people and places, watching for gestures, relationships, and small disruptions that reveal something beyond the immediate event. I am interested in the tension between intimacy and distance: what it means to photograph a world I belong to while remaining attentive enough to see it as strange.

Childhood has been a recurring subject in my work, not simply as a stage of life but as a period of continual crossing. Children move between dependence and autonomy, safety and risk, imagination and the structures imposed upon them. Increasingly, landscape has entered the work in a similar way. Shorelines, roads, fields, domestic spaces, and unfamiliar places become both settings and subjects—places where belonging can feel temporary and boundaries are continually negotiated.

I work primarily in black and white, allowing gesture, light, form, and relationships within the frame to carry the image. Across both documentary and landscape photographs, I am drawn to ambiguity rather than resolution. I want a photograph to remain slightly open: recognizable enough to enter, but unresolved enough that the viewer has somewhere to go.