*ARTIST STATEMENT
(EN) My practice explores photosculpture as a question within the expanded field of photography, where images are no longer treated as representational surfaces but as material entities that occupy space. Working across photography, sculpture, and installation, I investigate how photographic images can be folded, layered, suspended, and spatially reorganized to engage with questions of placeness, diasporic memory, and architectural transformation.
Rather than preserving photographs as fixed documents of the past, my work approaches images as mutable matter—subject to gravity, light, erosion, and touch. Architectural fragments, particularly those associated with redbrick structures, recur as visual and material motifs. These fragments operate as carriers of historical residue, evoking entangled conditions of colonial histories, migration, and the instability of belonging. Through processes of cutting, folding, sewing, and assembling, photographic frames are disrupted and reconfigured into sculptural forms that oscillate between solidity and fragility.
The installations invite viewers to encounter photography not only through vision, but through bodily navigation. Transparency, scale, and spatial arrangement allow images to be entered, circled, and perceived from multiple positions, producing moments of temporal and affective dissonance. In this way, photography is transformed from an object to be looked at into a place to be inhabited.
Conceived as site-responsive constellations rather than fixed objects, my works adapt to architectural contexts and emphasize relational viewing. By situating photographic material within space, this practice proposes photosculpture as a method for rethinking memory, place, and image-making beyond flatness, stability, and singular perspective.
28/12/25