My documentary portraiture examines how people, within the social codes of contemporary Western life, make themselves visible through gesture, dress, ritual, performance, and bodily presence. Clothing, posture, self-styling, and forms of display hold traces of affiliation, memory, desire, class, gender, and vulnerability.

From deliberate personae — impersonators, clowns, performers — to the less acknowledged performances of respectability, age, subcultural belonging, and gendered expectation, the photographs attend to the labour of appearing. They do not seek an authentic self beneath the mask. Instead, they hold the point at which feeling, role, and self-fashioning become inseparable.

Every social role is a kind of impersonation — of a type, an ideal, a version of oneself one has decided to become. Each image remains incomplete: a record of an unrepeatable encounter, and of the ways people come to belong while remaining partly unknowable. As Diane Arbus wrote, «A photograph is a secret about a secret. The more it tells you, the less you know.» That paradox sits at the centre of my practice.