“Photography is the study of myself, the universe, and everything that exists. Questions of life and death, and the meaning of life have been in my mind since a near-death experience in my late teens. Why am I here? Why are we here? I look for the answer in every frame that I photograph. I believe that all forms of existences are connected. Relations among subjects in a frame and my emotional connection to the subjects create meanings and feelings in an image. I refine my work by meditating through the recursive process of photographing and editing." NEED expresses my inner desire and struggle of wanting to be free from suffering by letting go of cravings and attachments. It promotes the realization of impermanence and emptiness of Buddhism philosophy in life. We Can Fly compels the viewer to reexamine life by facing the unavoidable death and provides the viewer with the opportunity to be reborn through the virtual experience of death. In our life-affirming society, death is something that we avoid to talk about. This work asks people to face the death rather than fear and realize that life is short, but worth it to challenge our selves to be free
In our society, the human body probably gets more scrutiny than anything. We always seem to notice flaws, overlooking that the body, even with imperfections is beautiful. By distorting the body, in camera through triple exposures (not photoshop), to make one look past the, so-called imperfections, and into the beauty. wants people to stand outside the box, and while doing so, change the way the human form is observed and scrutinized.
One aspect of the tragedy of human existence is the suffocating feeling of isolation. We barricade ourselves behind elaborate defense mechanisms, which operate on physical as well as on psychological levels. Clothing is one way to wear a mask. We dress to hide our vulnerable bodies and souls, to fit into a social system and hide our insecurities. Through my wearable sculptures I question and redefine the role of the garment. Wrapping the body to reveal instead of conceal. The wearer’s emotional landscape gets exposed and invites to an honest and open dialogue between the wearer and the viewer.
Dressing in my sculptures brought me to the natural consequence of perfor-mance. Through the use of my voice, which I've been developing through classical training, my pieces are coming to life like never before.The unexpected nature of live perfor-mance, an event which can never be identically recreated, facilitates a magically open dialog with a minimum amount of preconceptions between the viewer and the performer
