Astronauts in Tin is part of a photographic series exploring the world of cosplay and its surreal tension between fiction and identity - revealing how it functions as both a form of escapism and a tool for self-expression. The project reflects on how identity is constructed and constrained within society, and how cosplay acts as a direct form of resistance against normative structures. By reclaiming space and bending the boundaries of adulthood, it exposes the line between reality and the surreal - showing that both are, ultimately, conceptual.

This project is an embodied journey through my mother’s past as a former nun, tracing her life across Europe through her diaries. It’s a personal and political archaeology of womanhood, memory, and identity - engaging with my mothers hidden identity to understand my own.

This photograph is part of Legs, a series made in Ukraine that reflects on the ethics of looking at war. In images of conflict, the body is often fragmented - turned into symbol, gesture, or wound. The series questions how images of conflict can aestheticize suffering and, in doing so, distance viewers from the human reality they depict.

The Bells is a series that examines how the Finnish town, Rovaniemi, became a staged spectacle through the myth of Santa Claus, revealing the collision of innocence and capitalism. It highlights how global consumer culture commodifies place and memory, transforming lived space into branded fantasy. By exposing the spatial and cultural claims imposed under the guise of Christmas magic, the work questions the costs of myth-making and how narratives are used to reshape identities and economies in the age of tourism and commodification.

Wiljo is 60 years old, but due to her medication, she appears older. The work reflects on the process of aging, society’s valuation of vitality, and the isolation that often accompanies old age. Through this, aging is not portrayed merely as a personal experience but as a social condition.