Method

I work with prisms, handmade optical attachments, light filters, colour interference, reflection, and the imperfect behaviour of digital capture. The image is built while the scene is being photographed. The collage happens inside the encounter between the city, the camera, the filter, and the moving body.

For me, this way of working became a creative response to the expectation that an image should begin with clarity. A photograph is often imagined as something that starts from a stable intention: the artist knows what she wants to show, frames it, captures it, then presents it.

Chaos Under Construction comes from another impulse. The image begins before I fully know what it is going to become. I enter the city with a camera, filters, lenses, surfaces, and a willingness to let the apparatus misbehave productively.

Excess

The series is built from excess. Colour arrives before explanation. One exposure does not erase the previous one. A shape becomes a field, then a body, then a building, then a stain of light.

The city does not appear as a single view. It accumulates. The camera does not simplify this accumulation. It holds it open for long enough to become an image.

This is why the works remain visually seductive. Their colour is the material through which the image is made. Colour cuts, joins, hides, intensifies, and interrupts. It gives the photograph its pleasure and its instability at the same time.

Under construction

The method has something in common with collage, but the cut is not made afterwards. It happens through exposure, timing, reflection, and the physical interference of the filter. The final photograph is a record of that collision. It carries the trace of several possible images inside one surface.

I am interested in this moment before the image becomes obedient. The moment when the camera receives too much, when the city presses into the frame from several directions, when the work is not yet explanation, composition, or message. It is still forming. It is under construction.