Manifesto
Bugs
777 Tokens
Bugs is a generative study of the microwild — an atlas of insects rendered with photographic care, where strict anatomical realism meets the intimacy of macro lenses.
A hidden world at human scale
We live among insects without really seeing them. In the space of a single garden there may be more lives unfolding than we can count — pollinators, predators, cleaners, decomposers — each with its own textures, colours and micro-histories. Bugs is an attempt to pay attention.
Rather than stylising or anthropomorphising these creatures, the collection treats them as they are: small, exact, astonishing. The camera becomes our point of empathy. By moving close enough to see the patterning on a wing or the hairs on a leg, we are invited to notice that there is nothing "lesser" about small life. It is simply happening at another scale.
Traits as a photographic brief
In Bugs, traits do not decorate a character; they specify a shot.
Species defines the subject — ladybird, bee, hoverfly, dragonfly, butterfly, beetle, ant and more. Environment describes where we find it: perched on a stem, resting on a petal, exploring moss, clinging to bark, visiting a water edge. Time of day and lighting determine the palette and contrast: morning haze, soft overcast, golden hour, backlit wings, deep shade.
Pose and focus traits decide whether we see a full-body profile, a frontal portrait, a wing spread in mid-flight or a side view of feeding. Surface-detail traits bring the world into contact with the insect: dew droplets, dust, pollen, tiny strands of web.
Realism as a discipline
The style of Bugs is ultra-realistic macro photography. This is a constraint, not an afterthought. The insects must remain anatomically correct: no extra legs, no missing antennae, no melted or fantastical anatomy unless explicitly marked as a rare legendary variant. The sense of wonder comes not from bending biology, but from seeing biology clearly.
By insisting on realism, Bugs explores how generative systems can serve observation rather than escape from it. The collection is not about escaping the real world, but about kneeling down closer to it and discovering that even within a few square metres of garden, there is a universe of form, colour and movement worth looking at.
Other Collections
Spectra
Spectra is a study of matter revealed as light.
Each work is rendered as a long-exposure spectral field — a restrained, museum-grade image where compounds and materials appear as bands and lines held against deep charcoal. These are not diagrams. There are no axes, grids, labels, or legends. Only the quiet evidence of a signature.
Across the collection, four regimes are held in tension: hydrocarbons, nuclear fuels, clean-energy materials, and metal alloys. The politics is embedded in comparison, not slogans — warmth versus precision, diffusion versus containment, abundance versus legacy — expressed only through light.
Remanence
Remanence is a study of the human face recorded as light over time.
Each work depicts a recognisably human facial form rendered as a sparse spatial point cloud and subjected to long‑exposure spectral recording. Motion across the exposure produces temporal echoes — red‑shift and blue‑shift afterimages that reveal the face at different moments in time.
These are not portraits. They are residual impressions: what remains of form once time, movement, and wavelength have been allowed to interfere.
Chairs
Chairs is a study in sculptural absurdity: a museum-grade exploration of chairs that push beyond functional design into expressive, impractical, and architecturally playful form.
Each work is a hyper‑photorealistic portrait of a chair behaving more like a sculpture: a seat that bends too far, loops into itself, contradicts its own engineering, or performs gestures no practical furniture would ever attempt.
The result is a collection where fine‑art photography meets conceptual design, blurring the boundary between object, artwork, and architectural experiment.