My work begins with a simple idea: how we respond to an image often reflects what we carry within ourselves. A photograph does not place emotion into us. Instead, it offers a space in which we can recognise our own state of mind. It invites a quieter kind of attention, a way of tuning in rather than looking out.

I am drawn to the surrealism of the everyday. Ordinary scenes that sit a little outside themselves. A wall lit too perfectly, a forest that feels both natural and staged, a court emptied of all the voices that usually fill it. When something looks too real, it starts to feel unreal, and in that shift a different kind of truth appears. Calmness and unease exist side by side.

The familiar becomes unfamiliar. These moments hold a strange clarity, almost like stepping momentarily outside the flow of ordinary life. There can be a touch of derealisation in this, a sense that the world is both present and distant. But in that distance, something important reveals itself.

This way of working raises questions about belonging and perception. What does it mean to feel connected to a place, or to feel slightly apart from it. Why do certain spaces seem to speak while others fall silent. And to what extent are we shaping the world simply by the way we attend to it. At times it feels as though we are inside a vast set, a stage that is always shifting. If so, what role do we play within it.

Photography, for me, is not a search for answers but a way of staying with these questions. It slows the pace of looking. It gives ordinary places the chance to be seen on their own terms. It allows solitude to become a form of presence rather than withdrawal.

Across each project I am exploring the same quiet territory. The space between reality and perception. The tension between calmness and uncertainty. The way a moment can feel both rooted and strangely detached. What I hope the images offer is a pause in which the viewer can meet the world and themselves at the same time.

This is the guiding thread of the work: to look closely, to remain attentive, and to invite the possibility that meaning lies not in explanation, but in the experience of seeing.

Across my work, this way of seeing takes different forms. Intervals explores the pauses and thresholds of the everyday. Spirit of Place traces the atmosphere of locations through image rather than description. Double Takes brings unlikely pairings into dialogue to reveal connections in ordinary life. Courts documents Hong Kong basketball courts as studies of colour, geometry and cultural identity. The Stillness Between turns to Scottish landscapes, using black and white film to reflect on how nature and self meet in solitude.

Beyond practice, I studied Integrated Product Design and later completed an MA in Contemporary Art Theory at Edinburgh College of Art. These formative years continue to inform how my work bridges design, visual theory, and photographic inquiry.