About

My practice begins with the image as something unstable: no longer only a photograph, not yet a fixed object. I work with photography, digital graphics and AI-based image processes, then bring the result into physical tension through acrylic mount. The surface becomes a field where color, texture and light change with distance, angle and attention.

Acrylic mount is not a neutral presentation method in this work. It is part of the image. It compresses and separates, sharpens and distances, giving the viewer a surface that appears immediate while refusing to stay still. What seems flat at first begins to behave as depth; what seems smooth reveals a constructed texture.

AI enters the process as a way to disturb the certainty of the photographic image, not as spectacle or shortcut. Digital intervention allows the image to move away from documentation and toward a more ambiguous state, where the familiar becomes synthetic, luminous, almost tactile.

Representation of unreal, for me, is not fantasy. It is a question of perception: how an image can alter the viewer's sense of material, light and presence while remaining visibly constructed. The work occupies that threshold, where the eye is asked to decide whether it is looking at surface, object, texture or light.