I spent ten years on the other side of the glass. In the fashion studios of Milan, I learned how light is manufactured, how a pose is constructed, and how a moment is forced. Now, I spend my time undoing that artifice.

My work in landscapes and portraits is an exercise in 'un-learning.' I don't look for a literal record; I look for the friction between the subject and the atmosphere. Whether it’s the cold geometry of a cityscape or the shifting shadows of a portrait, I am chasing the 'residue' of the scene—the part that remains after the cameras are packed away.

Every image is processed by my own hand, treated not as a file to be 'optimized,' but as a memory to be refined. I don't aim for 'seamlessness.' I aim for a visual truth that feels as heavy and textured as the city that raised my practice.