About
My work spans film, photography, poetry, painting, and short-form digital media, with film as my primary medium. Across these forms, I’ve consistently focused on building visual narratives and shaping how audiences engage with them—both emotionally and strategically.
My academic training in Visual Arts built a strong foundation across all stages of production, from concept development through execution and presentation. My personal film projects, JOURNAL ENTRIES and AMBIVERT, functioned as multi-format bodies of work, combining film, photography, painting, and poetry. Beyond creating the work itself, these projects required me to think critically about how experimental, diaristic work could live online—how it would be sequenced, framed, and encountered by a digital audience.
Alongside my academic practice, I’ve built a presence as an online content creator, which has given me a strong fluency in contemporary digital ecosystems. This outlet strengthened my ability to move between creative intuition and strategy: understanding how visual identity is communicated, why certain imagery resonates on specific platforms, and how creative assets can be tailored to different audiences without losing cohesion or voice. I’ve learned how to analyze engagement data, refine posting strategies, and maintain brand consistency while preserving an authentic, personal aesthetic.
Having already lived the full cycle of creating, refining, distributing, and analyzing creative media, I bring both hands-on production experience and a holistic understanding of how work circulates in the current media landscape.
At the core of my practice is an interest in emotional states before resolution. My creative process begins with feelings in their raw, confused, and vulnerable form—contradictory, nonlinear. Rather than resolving them too quickly, I lay them out honestly and let them coexist. In that openness, a reflective intersection emerges: a point of resonance that doesn’t rely on clarity to be felt.
My films move between narrative and documentary, often diaristic and poetic, shaped by emotional proximity. My strength in storytelling revolves around subjectivity and distortion: parallel perspectives, misaligned memories, the quiet distance between what’s felt and what’s shown. Meaning builds slowly through repetition, silence, and visual rhyme. Images that return like thoughts you don’t want to have but can’t stop revisiting.
Thematically, my work circles obsession, restraint, desire, and denial. I return to queer identity, limerence, and how attachment warps reality.
Formally, I favor a restrained, observational approach. I let scenes breathe past comfort. I trust hesitation, stillness, and what remains unsaid.
I see filmmaking as an act of exposure. Staying with a feeling long enough for it to surface, even if it never resolves, even if it asks to be seen before it’s ready
Emotions don’t always move with grace. They loop, they fracture, they contradict themselves. Trying to translate them into clear language can feel futile.
That tension is where my artistic motive resides.