Hands series

Heavy negative space and dark, moody romanticism drawn from recent cinematic still-life logic.

Deep oxblood, plum, and charcoal prioritizing under-exposed imagery and dramatic shadows.

Subjects severed at the frame edge — faces, objects, and letterforms cut hard rather than contained, using the crop itself as a compositional act.

A photograph presented as an image in its own right — camera-made and shown for itself, rather than as the raw material of a poster, spread, or cover.

Isolated objects arranged and lit for their own sake, including product photography and constructed still life.