A rigorous inquiry into the equilibrium of form.

In this body of work, photography operates as investigative tool. Whether addressing the organic complexity of the human figure or the structural logic of the built environment, the approach remains governed by consistent formalist discipline: prioritizing precision over emotion, structure over narrative.

The central question is equilibrium: how do complementary opposites—tension and release, angular structure and curved flow, openness and withdrawal—organize into stable form? By isolating essential structure and eliminating theatrical gesture and decorative flourish, the work creates conditions where these relationships become visible.

This discipline was established during the film era (1999-2006). Working with longer focal length lenses at extended distances, the practice employs near-orthographic projection—minimizing perspective distortion to render subjects as dimensional truth rather than optical appearance. Often working 48-72 hour continuous darkroom sessions to maintain absolute tonal consistency, the practice demanded total control over every stage of production. This systematic rigor—mastered in the darkroom—now informs the sculptural practice.

Within the Figurative Structures system, this austerity serves a clear purpose. By stripping away anecdote and sentiment, the nude body becomes perceivable not as individual subject but as architecture—universal form where opposing forces achieve balance.