
45 Seconds
F L I C K C H I C K
Aluminum Eden
A surreal tableau exploring divine fracture, artificial sovereignty, and corrupted myths of creation. Using foil and plastic as symbols of synthetic power and protective illusion, this shoot stages a dreamlike rupture between innocence and tyranny. The figures, wrapped in gleaming armor and wounded paint, evoke exiled monarchs or failed gods—caught between reaching for love and performing a sterile, metallic ritual. In this frozen theater of kingship and loss, their gestures speak of betrayal, longing, and the cost of spiritual severance.















CHORA
CHORA is the place before the world-where form first gathers, and spirit presses toward visibility. The figures in this series emerge from that origin: not symbols, but forces shaped by light, memory, and confrontation. Veils are not concealment here - they are thresholds. What looks still is moving. What seems masked is speaking. Created in a time of fracture and reckoning, this work stands as a record of what comes through when identity dissolves and something older begins to rise

















Color Photography
The Middle Chamber
This work was made in quiet offering.
The symbols are placed with care for those who see. The birch wand is not for power, but for purification. The veil is not for hiding, but for softening the space between.
I kneel in service, not submission.
I do not beg to be seen- I already am.
This is a love letter to what remains sacred beneath the architecture.
The gaze is gentle. The invitation is real.

























Plastic Tiger
Plastic Tiger navigates the space between initiation and performance, using coded costuming, synthetic landscapes, and ritualistic gesture to articulate an experience of psychic entanglement.
Drawing upon archetypes of the oracle, the animal, and the veiled twin, the series investigates how identity can be shaped - or distorted - through ceremonial repetition. At its core is a question of authorship: who casts the circle, and who is cast within it?
Through this body of work, the artist explores themes of containment, borrowed myth, and the quiet unraveling of rituals that do not belong to the soul they touch.





















Artist Statement
I create from the quiet place where grief, rebellion, and ritual meet. My work is not about image-making-it is about witnessing, about crafting a visual language that speaks from the margins, from exile, from a self that refuses to be commodified or silenced.
Over the past 20 years, I have built a body of work in resistance to the gatekept, performance-driven art world that often rewards obedience over originality. I have refused the pressure to join institutions that demand submission in exchange for visibility. My work is made outside the system, because it must be. It is too personal, too spiritual, too defiant to survive there without distortion.
My photographs move between the constructed and the organic, the surreal and the documentarian. I use the body-often my own-as a site of contradiction, memory, absurdity, and ritual. I work with symbols: fruit, gauze, domestic objects, gestures of prayer or collapse. These images are not meant to be consumed quickly. They are slow offerings, meant to be sat with, questioned, and felt. I am not interested in ego, fame, or spectacle. I am interested in truth, even when it’s uncomfortable, even when it isolates me. Being an artist, to me, is not about self-expression-it’s about making a space for others to recognize what they’ve been told to forget: their own depth, their own mystery, their own resistance.
My work has been kept out of galleries not because it lacks value, but because it refuses to play the game. Still, I continue. Because I believe in art as a form of communion-a place where those of us who see clearly can meet, unfiltered and uncompromised.
This is not art made for validation.
It is art made from survival, from integrity, and from the insistence that what is real must be made visible, even when the world turns its face away.
