Cornwall consists of three photographs taken with a medium film format camera shot on expired 120 film both inherited from my grandfather. The process of salt printing incorporated sea water from the depicted coastline in Cornwall to sensitise the prints.

Typology of Approx. 12m² is a typology of various ordinary and overlooked architectural elements that unites enclosed spaces of roughly equivalent size. This exploration prompts inquiries about spatial utilization across diverse cultural contexts, highlighting varied potentials when a uniform surface area is established as a standard for commercial or human activities. The technique of embossing the architectural elements on paper reflects the inconspicuous intrinsic nature of the constructions.

Rooted in the theme Ondergronds – Bovengronds, this series reflects the invisible connections between past and present. It begins with two anonymous photographs from the artist’s family archive —mementos from an unknown journey, their context lost to time. The prints, made using natural pigments extracted from the same plants once cultivated in his garden, embody a passage from inherited knowledge (ondergronds) to artistic transformation (bovengronds). As light slowly erases the images, the past dissolves, mirroring the inevitable fading of stories left untold. In this fragile interplay of material and memory, the work questions what remains when history slips beyond recollection.

This series bridges the mundane and the meaningful. Using discarded materials—often designed to facilitate certain processes but destined for waste—alongside inherited found footage such as letters, coins, and photographs captured by my grandfather. By uniting the disposable with personal fragments of history, the pieces challenge our perception of worth, inviting us to reconsider the narratives hidden in the everyday.

This photographic series captures the complex identity of Cyprus, exploring both the Greek and Turkish parts of the island. Shot across various cities, it reflects the contrasts within a region marked by division, symbolised by Nicosia, the world’s last divided capital. Split into three parts—the Greek Cypriot south, the Turkish Cypriot north, and a UN buffer zone—Nicosia embodies the island's turbulent history.

Beyond political divides, the series also highlights the beauty in everyday scenes—the quiet moments and overlooked spaces that offer a subtle sense of harmony amidst the tension. The project invites viewers to reconsider the island’s identity through the lens of both history and the ordinary beauty found in daily life.

Keeping Up Appearances explores the delicate balance between self-perception and the fragility of the constructs that shape our reality. This installation symbolises the tension between societal expectations and the fragile nature of personal identity. The pillars, supporting the reflection of the couple, represent the constructed realities that hold up life’s perceived stability. The broken mirror evokes the inevitable moment when these illusions crack, questioning who controls the balance and when everything might shatter.

This installation invites reflection on the act of demarcation and its implications. By isolating a segment of untouched nature without apparent purpose, the work challenges the viewer to question the relationship between context and meaning. The perimeter, typically signifying control, activity, or significance, becomes ambiguous in this setting, emphasizing the constructed nature of boundaries. It prompts us to consider how human-defined dimensions interact with, or disrupt, the organic flow of the natural world, and how context shapes our perception of space and significance.

An in-situ installation that transforms the venue’s fragmented staircase into a metaphor for self-reflection. A sheet of glass connects the broken steps but obstructs their use, confronting the viewer with their own reflection when attempting to ascend. Reflect explores themes of ambition, growth, and self-imposed barriers, inviting the spectator to consider how personal aspirations and the pursuit of "more" can sometimes prevent progress. It challenges the viewer to reconcile striving for advancement with staying grounded in the present.

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