Works
Laguna:
In this image, I layered a quiet beach scene over the faint ghostlike presence of a city skyline buried beneath the sand and the rocky hill. I was drawn to the way the two environments could occupy the same space, even though they feel completely incompatible. The red-toned water was a deliberate choice to shift the mood away from realism and toward something more dreamlike and unsettling. For me, this piece reflects the way urban life and natural landscapes constantly "bleed" into one another even when that relationship isn’t immediately visible. By hiding the city beneath the surface, I wanted to suggest the unseen structures that shape how we experience space, and how difficult it can be to separate what feels “natural” from what is inevitably constructed.
Lisbon:
In this piece, I transformed a historic architectural building into a series of portals that open onto shifting natural worlds. Each window became its own contained environment, oceans, fields, flowers, sunsets, which allowed for multiple landscapes to coexist within a single structure. I was interested in how these framed scenes feel both isolated and connected like fragments of memory suspended inside the building. I wanted to explore how personal photographic memory reshapes our understanding of place and history. The building becomes a collection of perspectives rather than a fixed site, with each window holding a different emotional and environmental atmosphere.
SAN FRANCISCO:
In this piece, I used the Golden Gate Bridge as a starting point and disrupted its sense of stability by placing it inside a landscape that feels stretched and slightly unreal. I layered mountains, water, and sky in ways that don’t fully align and introduced palm trees that don’t quite belong, to create a scene that feels geographically and emotionally disoriented. Here, instead of functioning as a symbol of connection, the bridge becomes something you move through without ever fully arriving. For me, this image is about movement, distance, and the feeling of being trapped between places. I wanted the environment to feel expansive but unsettled, as if the landscape is shifting faster than the structure can hold it in place. The piece reflects how certain cities exist for me more as fragmented impressions than as fixed locations.
nEW YORK CITY:
In this piece, I inverted the New York skyline and layered it beneath drifting rocks and turbulent water so the city feels submerged and also compressed. I wanted the buildings to read as both familiar and fragile as if the infrastructure is being slowly overwhelmed by forces it can’t fully contain. For me, this image reflects the intensity and pressure I associate with cities like New York: how overwhelming density, speed, and scale can feel from the inside. By flipping the city upside down and placing some of it under water, I wanted to suggest a loss of stability and control as if the environment is on the verge of collapse. The piece becomes less about place as geography and more about place as emotional weight.
