Four years of portraits, from 2022 to 2026, made in bedrooms, cars, kitchens, fields and on the rocks by the sea. Most use whatever light the place had: a window, a lamp, low sun, a single light at night.
Read in order, the series shows the work changing. The earlier frames are close and direct; the later ones step back and let the setting in, so the person and the place carry equal weight.
03.02
The same sitter on the bedroom floor, absorbed in a magazine. A high angle takes in the unmade bed, the sandals and the laptop, and the room becomes part of the portrait.
03.03
Window light from the left models the shoulders and chest, and the dark interior keeps the figure isolated. His glance away from the lens makes the picture feel observed, not posed.
03.04
Dusk from the windows and warmer light inside meet on his face mid-conversation. Cropped at the table's edge, the frame seats the viewer opposite him, part of the meal.
03.05
Close and low, chin resting on a forearm, hair still wet. The sepia tone and the flag and figures behind him give it the feel of an old holiday snapshot.
03.06
A wide frame where the subject is small: a boy at the end of a jetty, with the lake and mountains filling the rest. Scale makes it a portrait of a place and a moment as much as a person.
03.07
Shot from above, the figure lies sunk into a hollow in the pale rock. Skin and stone share the same warm tone, and a sliver of sea along the top edge is the only cool colour in the frame.
03.08
Very close, in low sun that saturates the red shirt and the hair. The tilted head and direct eye contact make it intimate and unguarded.
03.09
A swimmer hauls out of the water, bent double, at the bottom of a square frame filled with sea. The far shore and its tiny bathers along the top give the picture depth and the length of a whole afternoon.
03.10
Set against a wheat field and a pale sky, a raised hand shading the eyes. Shallow focus melts the field into a band of gold and keeps the chain and the face sharp.
03.11
A profile against the hedgerow, backlit so the hair glows and a flare sits at the edge of the frame. The raised arm makes a triangle that holds the composition together.
03.12
Backlit in a meadow, she turns away with her hands lifted to her hair. Hiding the face makes the picture about the gesture and the late summer light.
03.13
Sitting sideways in the driver's seat, she looks out with the sun behind her. The door, the roof and the seat build a frame within the frame.
03.14
Leaning out from the car, one arm stretched past the edge of the frame, she looks up beyond the camera. The wide angle and the hair caught mid-movement make it feel spontaneous.
03.15
Lit by a single source from the side, the face emerges from almost total black. The eye and the ridge of the nose hold the light; everything else is given to shadow.
03.16
Shot from above in black and white, with hard light across the shoulders. The downward angle and the loose, clasped hands make the figure look inward and self-contained.
03.17
A black and white portrait broken by a bleached, mottled texture that eats into skin and background alike. The surface looks chemical, so the photograph shows its own making as well as the sitter.
03.18
A silhouette in profile, drawn only by a thin rim of light along the hair and face. Almost the entire frame is black, and the picture rests on that single edge.
03.19
Lit from one side at night, the jacket and the garden behind him drop into darkness. His off-camera gaze makes the light seem to come from something just out of view.
03.20
A horizontal frame with the figure in the left third, beside a gate and a hedge. The single light on his face pulls him out of the dark garden, and the empty space to the right holds the tension.
