For more than two decades, my conceptual practice has been shaped by three inquiries that resist resolution: the instability of perception, the impermanence of existence, and the fragility of identity. These are not themes I have chosen, but conditions I have found myself unable to leave.
Organized into four interconnected cycles comprising a number of long-form series, the practice approaches these questions through evolving visual strategies, using a lens-based process. Through these cycles, the practice moves from the impact of large societal patterns on the individual, the construction of personal identity and the inherent subjectiveness of perception, towards an abstracted, allegorical inquiry into all these concerns through botanical forms.
The first cycle The Big Picture examines the relationship between the individual and the human-shaped world to explore the tension between personal identity and larger societal structures. Here, the individual first emerges as a recurring point of inquiry, understood in relation to the collective environments that shape it.
The Existential Self then turns to portraiture to further explore the formation of identity through the interplay of belief, self-perception and social influence, asking how much of the self is internally experienced and how much is constructed through external systems of meaning.
The third cycle, Nature of Reality, employs surreal and increasingly abstracted imagery created through light, shadows and reflections to question the reliability of perception itself. Drawing on perceptual phenomena including optical illusions, Gestalt principles and pareidolia, the cycle explores how reality and identity are actively constructed through subjective acts of interpretation.
The most recent cycle, Studies in Lightness, brings all these related inquiries together through abstracted botanical forms in continually shifting threshold states. Across the series States of Spring, States of Fall and Waterworlds, flowers and natural phenomena become metaphors for impermanence, the instability of perception and the fragile relationship between individual and collective existence. Here, the study of light and darkness functions as the perceptual means through which broader existential questions are explored, continuing a long art-historical tradition in which light becomes a vehicle for reflecting on identity, transience and being.
Across all four cycles, the lens-based process functions not as a representational medium, but as one of sustained conceptual inquiry. Each cycle returns to the same underlying questions through diverse genres and their respective visual languages, treating perception as an active process through which our understanding of ourselves, others and the world is continually formed, unsettled and renewed.