Manifesto
Trace
555 Tokens
Trace is an exploration of interpretation — where drawing becomes a way of thinking.
The World, Re-Drawn
Every photograph captures a moment of reality; every drawing reveals a structure beneath it. Trace brings these two modes together. Real imagery sits beside its own reinterpretation — not as illustration, but as analysis, intuition, and extension.
Collage as Architecture
Fragments of photography become anchors. Around them, lines map contours, extend edges, suggest volumes, and unfold imaginary projections. The image is no longer just seen — it is examined, expanded, and re-understood.
The Quiet Logic of Lines
Architectural drawing is a language of clarity. In Trace, that clarity becomes poetic: blueprint scaffolds meet soft textures, diagrams drift into abstraction, and the page becomes a space where thinking is visible.
Trace transforms observation into structure.
Other Collections
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.
Dust
Dust is a study in chalk, pigment and breath — abstract forms arranged like quiet mathematics.
Circles, lines and woven geometries drift across soft paper textures, fading at the edges as if they were drawn and erased a hundred times before settling into their final shape. Some pieces feel like blueprints, others like constellations or half-remembered maps, but all of them carry the same powdered calm: the hush of chalk hanging in the air.
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.