My work uses the body ,often my own, as both subject and material. Through photography, performance, styling, and image-making, I construct portraits that operate less as records and more as sites of transformation. Identity in my practice is not fixed; it is rehearsed, fractured, stylized, and mythologized.

Self-portraiture functions as a testing ground rather than an endpoint. By placing myself in front of the lens, I remove the distance between observer and observed, allowing the image to collapse authorship, subjecthood, and performance into a single gesture. These works are not about self-documentation, but about embodiment—how a body can carry history, fantasy, lineage, and refusal simultaneously.

Alongside self-portraiture, I create images of others that extend this inquiry outward. These portraits are collaborative and ritualistic, treating the sitter not as a passive subject but as an active presence. Whether depicting myself or others, I am interested in likeness not as resemblance, but as resonance: what remains when realism dissolves?

My visual language draws from fashion, drag, European avant-garde traditions, and the aesthetics of excess and restraint. Clothing, hair, makeup, and gesture become sculptural devices—tools for exaggeration, distortion, and elevation. Influences range from couture and performance art to pop mythology and inherited cultural memory, particularly from Eastern European traditions.

Across all mediums, my work resists neutrality. I am drawn to intensity, artificiality, and deliberate construction as a means of accessing emotional truth. The images function as fragments of a larger, self-referential mythologyone that evolves over time, accumulating symbols, personas, and echoes. Rather than offering answers, the work invites viewers into a space where identity is fluid, authored, and continuously becoming.