Selected works

I keep coming back to the two ropes in front of the face. They interrupt the portrait, then give the eye a way in. The patterned blouse and rough rope meet in a small space, and the black-and-white light makes their textures feel close.

In my practice, a rope line changes how I look at the person inside it. Here the knot and the gaze both hold the frame. Try looking past the knot and meeting the eyes for a moment; the portrait shifts.

Here the body runs almost sideways through the frame, while the hair falls toward the floor. The window gives the image a few hard rectangles, and the ropes make their own diagonals. I like that the room remains visible around the pose.

When I work with rope, I pay attention to where weight seems to travel. The photograph lets the eye follow that path without explaining it. Try following the shoulder toward the face, then downward with the hair. A small change of direction can carry the whole photograph.

This is a close frame: shoulder, neck, patterned fabric, and a rope crossing the body before gathering at the edge. We do not see the face, so texture carries more of the image. The pale wall keeps the dark hair and rope distinct.

I like details that ask for a slower look. A tie can be simple, but its placement changes how the body meets the camera. Here, fabric and rope share the frame without becoming the same thing.

The figure sits low on the wooden floor, one leg extended across the frame and ropes rising out of view. The rough wall takes up much of the background. Open floor and long shadows give the pose a clear place to rest.

I am interested in how the ground stays present in rope practice, even when lines lead upward. The body is held by a structure, and the floor remains part of the picture. Try looking at the floor and shadow before returning to the tie; the room becomes part of what you see.