ENGLISH

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ARTIST STATEMENT

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My photographic work emerges from a desire to create spaces in which FLINTA* individuals can encounter their own bodies again – beyond expectation, projection, or the constant external gaze.

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With EQUAL NUDE, a practice began that is close, quiet, and deliberately slowed down: one-to-one sessions in which people can undress without exposing themselves. I work with bodies the way one works with memory – tentatively, respectfully, and with the willingness to witness what is unresolved. The resulting portraits are less representations than echoes: they hold moments of vulnerability, courage, and self-recognition.

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Over the years, this process has transformed into something deeper. After a traumatic personal experience, I stepped away from the camera for two years. Returning was a turning point – and the beginning of EQUAL NUDE NOIR. The aesthetic grew darker, the visual language denser, the questions more collective.

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In EQUAL NUDE NOIR, I am interested in the body as an archive:
How and where do trauma, shame, or belonging inscribe themselves?
What forms can healing take when it happens in community rather than alone?

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I now work intentionally with FLINTA* groups – as an antidote to isolation, as an offering of community, resonance, and empowering visibility. The photographic process becomes a container of safety in which people hold one another, mirror one another, and experience what it means not to perform.

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The photographs – whether bright and intimate or dark and atmospheric – are part of an ongoing inquiry into body perception, identity, and the role of intimacy as a political space.

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For me, an image is never an endpoint. It is a transition, a possibility, a moment of connection.