Artist Statement
My practice moves between painting, lens-based work, sound, and experimental film, tracing the delicate thresholds where perception shifts. I work within moments that resist narrative—the interludes between gestures, where time becomes porous and presence lingers. These fragments—of light, breath, shadow, and resonance—are not merely observed; they are held, suspended, and transformed into sensory architecture.
Painting and film operate as parallel frames in my process. A painting becomes a condensation of movement and feeling; a film, an unfolding of time that cannot be measured by sequence alone. Both seek to capture what cannot be named—the transient humanness of being.
Sound, for me, is not accompaniment but an equal presence, shaping how an image is felt, how space expands, how time slows. My installation In C5, which premiered at the Banff Centre for the Arts, used tonal frequency to construct an environment where sound became a tactile field—a space one could enter rather than simply hear.
The films linger between everything and nothing, revealing the weight of seemingly inconsequential moments. They are less about telling stories than about holding a state—where seeing becomes sensing, where meaning is found in the pause before language forms.
Ultimately, my work is a search for presence—not as an ideal, but as a fleeting condition of experience. It invites viewers to dwell in the unmeasured, to inhabit the thresholds where time bends, where nature mirrors our transience, and where connection appears—quietly, momentarily, and without explanation.
On Directing
Director’s Talk, Marché du Film, the Cannes Film Market, 2026:
Question When you plan the realization of a film project, what are your objectives?
I see it first, an immediate, immersive vision where image, sound, and idea surge into being all at once before language, as something both sensed and known. It appears in its totality, not as a sequence but as something that I hold in my mind. From there, the process becomes one of translation: bringing that vision into form while humanizing what lives within each frame. The work unfolds as a conceptual passage rather than a fixed destination, a space where discovery moves, responds, and breathes into being.
At the same time, I focus on building a collaborative environment grounded in trust and sensitivity. I want the people I work with to feel engaged in the process not just execution. Their contributions often reshape the work in ways I couldn’t have anticipated.
Ultimately, my goal is to make films that invite contemplation rather than provide answers—works that exist somewhere between clarity and ambiguity, where viewers can project their own meanings and experiences.
I think ahead about editing, sound design, festivals, or platforms. The film’s life doesn’t end at shooting—it needs a path to reach an audience. Things change. So I try maintaining the film’s essence while adjusting to real-world limitations or unexpected opportunities. From there, the process becomes one of translation: bringing that vision into form while humanizing what lives within the frame.