ARTIST’S STATEMENT

I use photography to explore how we experience a reality whose dimensions exceed perception. My works place questions of space, time, entropy, existence, and eschatology into visual form.

Ultra-long exposures are central to this inquiry. By gathering light over extended durations, successive moments occupy a single frame. Solid forms persist amid transient phenomena; movement and stillness, presence and absence, become difficult to separate. These photographs present a span of time we cannot perceive directly. They ask how much of what we call reality depends on the means through which we encounter it.

Across natural and built environments I look for physical signs of entropy: the weathering of a house, the dissolution of a coastline, the gradual surrender of structures to weather, tide, and time – forces beyond their makers’ control. Ruin draws eschatological questions into an intimate register. What persists after the purposes that once gave something meaning have gone? Does existence survive the demise of observation or memory?

I treat all that exists as hyperobjects: three-dimensional entities extended through time, of which perception takes only a slice. In this working sense, a hyperobject is met at its lowest entropy while it is ordered, intact, still answering to the traits that defined it; and at its highest in decay. Thus, order is the brief interval in which a thing can still be recognised as itself; and entropy is the condition toward which that recognition fades.

The sublime arises in the gap between the limits of perception and the apparent boundlessness of existence. The photographs invite sustained attention to that uncertainty: to the familiar becoming strange, to the instability of what seems permanent, and to our brief presence within an unfolding universe.