My photographic practice first began with an immense passion for cinema.

Captivated by the visual components of the medium, I chose to endeavor into photography after making the realization that films, at the most basic level, are thousands of individual photographs being strung together fluidly. For me, films exemplify two major concepts that I carry into my work: visual communication and psychological communication. Enthralled by the precise cinematography present in the works of filmmakers such as Stanley Kubrick, David Lynch, and Ari Aster, I implore the same visual language in my photography that has become conventional in the film industry, but that has remained unconventional in my own. Aside from their aesthetic qualities, films also have the unique psychological quality of evoking visceral emotional reactions in an audience, but specifically through the magic of the moving picture; my work communicates the same gravity of emotion, but through digital still imagery. The dichotomy between the two truly emerges in my presentation, which revolves around showing my work in a way that follows a sort of non-traditional narrative structure. This manifests as either a slideshow or linear series that conveys a story to the viewer, often reflecting personal philosophical ideas through surreal and severe imagery. Additionally, I experiment with incorporating audio design and utilizing different projection methods (such as television screens) in order to craft experiential work that steps into the four-dimensional realm.