Method and Position

My photographic practice is concept-driven and serial.

Each body of work develops over time through chapters, sequences, and returns. I do not look for isolated moments, but for recurring situations, spatial structures, and changing conditions of visibility that gradually reveal a distinct photographic logic.

I approach urban space not as a backdrop for events, but as a field of systems, thresholds, routines, traces, and perceptual conditions. Across long-term series, I examine infrastructures, temporal rhythms, collective movements, absences, and residual signs — the ways urban environments shape presence, attention, movement, and uncertainty.

Photography is not used here simply as representation. It is a way of making structures briefly legible — not from an outside position, but from within the very conditions it observes. Framing, distance, repetition, blur, and sequencing are conscious decisions that shape how space, behavior, and attention can appear.

Absence plays an important role in this process, though not as a stylistic principle alone. Empty platforms, waiting zones, passages, markets, and transitional spaces often make urban systems more readable precisely when action recedes or function begins to hesitate.

The work does not aim to explain the city or resolve it into a single meaning. It slows perception and opens a space in which urban orders, habits, and forms of participation become noticeable without being fully fixed.