WHY MEDITATE WHEN YOU CAN SCREAM (2023)

WHY MEDITATE WHEN YOU CAN SCREAM (2023) combines AI generated images with text. Utilising AI technology to reflect the anxious absurdity of current existence, the images replicate post-pandemic life being seemingly stranger than ever.

A4 saddle stitched book, 52 pages.

Diptychs (2022)

Diptychs (2022) is a series of 50 photographic diptychs comprised of self-portraits next to objects, landscapes and abstract images. The work offers a form of visual pathetic fallacy through the interplay of similarities in the images. The self-portraits evoke human attributes in the inanimate objects and landscapes, whilst the form and structure of the inanimate images draw parallels with the bodily positions. The two images mimic each other, reflecting and highlighting the pairs’ symbiotic visual relationships.

The series of 50 diptychs are also presented in a self-published hardback book, with covered design by Lind Haugaard. 

Hardback, A4 landscape format, 102 pages. 

COVID-COLLAGES  (2021)

COVID-COLLAGES (2021) presents three series of work made since the beginning of the COVID-19 pandemic. Starting as a need to momentarily escape digital interactions and connect with something physical, the collage series progressed over the course of the pandemic tracking and tracing the artist’s experiences. Organised by queerANarchive, a selection of works from CC.2020, lite / life and You into kissing too? were exhibited at Culture Hub Croatia from 3-6 September as part of Qfest 2021.

A5 perfect bound book, 52 pages. 

If you're not wearing gloves, you're not doing drag (2020)

The photo series invites the aesthetics of leather fetish into a visual discussion, delving into the concept of leather as drag and the performative aspects within the subculture. The images are also accompanied by a text written by myself and Emre Busse on this subject. JP is the model for the blanket featured in the photoshoot Editorial design by Lind Haugaard.  

A5 perfect bound book, 52 pages.36 pages.

Edition of 100.

* SOLD OUT

Body – Shift – Command (2017) 

Body – Shift – Command combines personal and found images captured as screenshots. The work blends images of human forms (Body) with objects, landscapes and abstract images, disrupting both images' original contexts to form new narratives.

21cm x 21cm saddle stitched book, 56 pages 

Uncategorized (2019)

Uncategorized presents a selection of found images from the uncategorized section on a famous porn website.

A5 perfect bound book, 52 pages. 

* SOLD OUT 

ebabes #2 (2016)

ebabes #2 documents female members of the ebay community using their bodies to sell items.

A5, perfect bound, 202 pages

eboys #2 (2016)

eboys  #2 documents male members of the ebay community using their bodies to sell items.

A5, perfect bound, 202 pages

Idku (I Don't Know You) (2013)

Idku (I Don't Know You) (2013) explores the flexibility of online identity. Created solely from a bedroom and it's contents, the work comments on the intangibility of digital relationships and the assumptions based on profile pictures. The installation imitated the appearance of Facebook in the format of a bedroom, with a “Facebook Blue” desk, carpet, and gloss vinyl walls mimicking the layout and appearance of a Facebook album. The Photographs themselves were created using the Photo Booth application, with mutual friends images set as green-screen like backgrounds.

A4 landscape book, perfect bound, 106 pages

*SOLD OUT

ebabes (2012)

ebabes documents female members of the ebay community using their bodies to sell items.

20×25 cm perfect bound book, 40 pages. 

*SOLD OUT 

eboys (2012)

eboys  #2 documents male members of the ebay community using their bodies to sell items.

20×25 cm perfect bound book, 40 pages. 

*SOLD OUT 

Stills From An Infinite Scroll (2012)

Stills From An Infinite Scroll (2012) offer moments of clarity in the ever-changing stream of images viewed on screens. Photographs are not viewed in static situations anymore, whilst endlessly scrolling through images viewers are only seeing fragmented and disjointed sections, culminating in a perpetual visual blur. This work pauses to see these fractured images in static formations.

A5, saddle bound, 56 pages