Documentary Photographer and Filmmaker
Digital Photography
Amsterdam, NL
2025
Series
841 x 318 mm
Giclée print
Astronauts in Tin follows adults who cosplay as astronauts to step outside the roles attached to adult life. Cosplay is seen not as escape, but as a space where identity can be tested. Through costume, participants move between daily life and imagination, between who they are and who they might become. Their astronaut suits create distance from ordinary expectations. In that distance, play becomes serious. Identity is not fixed, but performed, adjusted, and reimagined. For these adults, cosplay becomes a quiet act of freedom: a way to make room for imagination, self-definition, and change.
In the chrome suit, the fantasy of becoming an astronaut is never separate from reality. Its surface reflects the world back into the image, making imagination and the outside world meet. This overlap is central: it asks what reality is, how identity is shaped, and how both can seem to blend.
In the chrome suit, the fantasy of becoming an astronaut is never separate from reality. Its surface reflects the world back into the image, making imagination and the outside world meet. This overlap is central: it asks what reality is, how identity is shaped, and how both can seem to blend.
Digital Photography
London, UK
2026 - ongoingSeries
Book
Lustre print
Documentary film
2023
Full Video
Digital
8:53 min
Analog Photography
Uzhhorod, UKR
2024
Standalone work
422 x 603mm
Giclée print
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.
Amino
Analog Photography
Tirana, ALB 2024
Format
475 x 270 mm
Matte Print
Series made in Tirana, about how technology - and is specific the television, is in relation to loneliness.
Digital Photography
Amersfoort, NL
2023Standalone work
422 x 603 mm
Matte print
A photograph in the corner of the house showed a little girl wearing two blue bows. I asked Wiljo, the woman I helped maintain the house, about it. It was her, she told me, sixty years ago.
Wiljo was 60 years old. She remembered the bows and described herself as beautiful in them. Knowing that I am a photographer, we decided to recreate the portrait.
Wiljo was 60 years old. She remembered the bows and described herself as beautiful in them. Knowing that I am a photographer, we decided to recreate the portrait.
Analog Photography
Paris, FR
2024
Series
A1 Poster production spreaded across Paris
Sans Papiers portrays the sellers of Eiffel Tower souvenirs in Paris, a contemporary form of neo-slavery within the neoliberal landscape.
The same object - the miniature Eiffel Tower - functions both as symbol of national pride and as a tool of exploitation. Tourism, as a global capitalist machinery, creates a surreal tableau where leisure, precarity, and inequality collide.
The anonymity of the project is not just a stylistic choice but an ethical one. It protects those portrayed while emphasising how systemic structures erase individuality.
Ultimately, Sans Papiers seeks to make visible what is intentionally obscured: the human cost of Paris’s postcard image.
The series has spread in a series of 150 posters around Paris in 2024.
The same object - the miniature Eiffel Tower - functions both as symbol of national pride and as a tool of exploitation. Tourism, as a global capitalist machinery, creates a surreal tableau where leisure, precarity, and inequality collide.
The anonymity of the project is not just a stylistic choice but an ethical one. It protects those portrayed while emphasising how systemic structures erase individuality.
Ultimately, Sans Papiers seeks to make visible what is intentionally obscured: the human cost of Paris’s postcard image.
The series has spread in a series of 150 posters around Paris in 2024.