About

Statement

My practice investigates the archaeology of light. It is rooted in photo-based painting and sculpture. I work with color positive film transparencies, from 35mm to 4×5 sheet film—both material I shoot myself and found slides. Color positive film consists of three emulsion layers. Where no light reached the film, all of the emulsion remains to work with; where it is white, only the base is left. I sculpt and paint with these layers directly on the film itself—carving, burning, chemically altering, lifting to reveal latent potential.

I am painting on the film with the film. Each intervention is irreversible. I don’t start from a concept: I choose the film, follow what each intervention reveals, and decide when a piece is finished.

The works range from intimate installations with slide viewers to wall-filling light pieces, framed C-Prints and multi-panel works cut from a single strip of film. The work oscillates between pure abstraction—vivid color, haptic textures—and fragments of photographic content transformed beyond recognition.

Zoom into a scan of a worked surface and there is landscape—ridges, pools, fault lines—at every magnification I can reach. When I open the surface, I am not depicting erosion; I am performing it. Was that landscape always in the film, or does it exist only because I opened it?

What was there is preserved through my transformation of it. Each layer of a piece—the original exposure, the years in a box, my intervention, your encounter with it—stays present; none cancels the others.