ARTIST STATEMENT

I don’t photograph what I see — I construct what I want the eye to question.

Each photograph is built piece by piece: light sourced, bodies positioned, horizons edited, reflections drawn into place. Nothing accidental. Nothing borrowed. Everything constructed until it carries emotional pressure.

The central subject is the male body as muse and vessel. I am interested in men at the edge of something interior: longing, hesitation, surrender, restraint. Men seen feeling.

In my images, they don’t perform desire. They bear it.

Half-submerged in saltwater, hovering against an indifferent sky, alone on caves or in gardens—captured at the quiet breaking point between control and exposure.

I call these compositions Eye Trips—controlled departures from reality. They are not fantasies. They are deliberate fractures in what we think we see, designed so the eye slips into a more intimate terrain.

I create them slowly. I sketch, composite, rebuild. I borrow from my own past and future but ground it in now.

What matters to me is not surrealism as escape, but surrealism as revelation—when something unreal clarifies something true. The kind of light you only notice when alone.

If the work lingers, it’s because it begins in the physical world but never ends there.

The men in my images aren’t performing for you—they’re mirroring you.