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Lichtquellen looks at the space between hope and loss through a sequence of nocturnal photographs made in Berlin. The city appears both as something observed and something felt, its surfaces and pauses recorded in the muted light of the winter months.
Each copy was handprinted with Berlin-based publisher Pogo Books using risograph machines and a special extra-dark black ink. The coarse grain, ink spray, and tonal imperfections echo the instability of memory and perception. Printing aberrations and the residue of touch render each copy unique.
“Why is there a wall between me and the world, between me and others, between me and myself? How did it get there, and when did I first notice its edge?This book traces that wall. Some of it is for me. The rest is for you.
There’s comfort in believing photographs document the reality of things. But we forget that reality doesn’t belong to us. We’re bound to see everything differently, so I tried to find something we could share. What lingers in these collected fragments isn’t fact. They offer some truth beyond names and maps: loss, vulnerability, longing— the feelings that make you and me human.
The people and places in these images are unmoored from their time, drifting toward something you might recognize as your own.
There’s a photo I keep returning to. A woman at a trunk sale outside Stockholm, with a faded horse tattoo and eyes like deep wells of cool, quiet, dark water. Shy and beautiful, she carries inside her the young woman she once was. Her wild horse tamed by time. She is at once old and young, like reading a whole novel in a glance.She looks into me with a gaze that delivers my fortune: one day you will die.
So maybe that’s the real question I keep circling. Not why the wall is there, but whether I can still pass a message through to the other side.”
Weightless at Last explores longing, memory and distance. The book traces the quiet violence of intimacy and our yearning for connection.
Published by HARDEL in 2025, the book was showcased at Photo London, OffPrint Tate Modern, and Miss Read Berlin, and shortlisted for the Deutscher Fotobuch Preis in the Independent Publishing category.
Image slideshow shows book spreads, as well as exhibition impressions from Back of the Hand (Sept, 2025) and Weightless at Last video installation (Oct, 2025).
“Why is there a wall between me and the world, between me and others, between me and myself? How did it get there, and when did I first notice its edge?This book traces that wall. Some of it is for me. The rest is for you.
There’s comfort in believing photographs document the reality of things. But we forget that reality doesn’t belong to us. We’re bound to see everything differently, so I tried to find something we could share. What lingers in these collected fragments isn’t fact. They offer some truth beyond names and maps: loss, vulnerability, longing— the feelings that make you and me human.
The people and places in these images are unmoored from their time, drifting toward something you might recognize as your own.
There’s a photo I keep returning to. A woman at a trunk sale outside Stockholm, with a faded horse tattoo and eyes like deep wells of cool, quiet, dark water. Shy and beautiful, she carries inside her the young woman she once was. Her wild horse tamed by time. She is at once old and young, like reading a whole novel in a glance.She looks into me with a gaze that delivers my fortune: one day you will die.
So maybe that’s the real question I keep circling. Not why the wall is there, but whether I can still pass a message through to the other side.”
Weightless at Last explores longing, memory and distance. The book traces the quiet violence of intimacy and our yearning for connection.
Published by HARDEL in 2025, the book was showcased at Photo London, OffPrint Tate Modern, and Miss Read Berlin, and shortlisted for the Deutscher Fotobuch Preis in the Independent Publishing category.
Image slideshow shows book spreads, as well as exhibition impressions from Back of the Hand (Sept, 2025) and Weightless at Last video installation (Oct, 2025).
Emerging from an ongoing engagement with impermanence and renewal, “No More Blues” examines loneliness and disorientation as lived conditions of city life– the residue left by mental disorder and addiction.
Working with cyanotype, a process historically used to register physical presence, the images hover between photograph and impression. The prints function as both image and trace: moments held lightly, as if already receding.
“No More Blues” examines loneliness and disorientation as conditions of urban life, shaped by addiction and mental illness.
The work explores the overlap between observation and inner life. From this intersection, the city– Berlin in particular– is used to reflect the emotional lives of people trying to get through their days, whether young or old, hopeful or afraid.
Emerging from an ongoing engagement with impermanence and renewal, “No More Blues” examines loneliness and disorientation as lived conditions of city life– the residue left by mental disorder and addiction.
Working with cyanotype, a process historically used to register physical presence, the images hover between photograph and impression. The prints function as both image and trace: moments held lightly, as if already receding.
Selected poems from my journal between 2025-2026