Obscuratorium grew from my ongoing fascination with what lingers beneath the surface of things. I am drawn to objects that have outlived their original purpose, fragments that carry memory even when their stories have been forgotten.

Collaborating with the sculptural assemblages of Kitty Calvert, I approach these forms not as still life, but as presences. They feel ritualistic, almost devotional. Through photography, I attempt to give them a second breath, placing them into imagined worlds where time loosens and meaning becomes unstable.

My images sit somewhere between documentation and invention. I use darkness not to conceal, but to invite. Shadow becomes a space where childhood fears, half-remembered myths and subconscious narratives can resurface. These works are not meant to be resolved. They exist in a state of suspension, hovering between beauty and unease, tenderness and threat.

Much of my practice is rooted in myth-making. I am interested in how humans assign symbolism to objects, how we animate the inanimate, and how stories emerge when logic falls away. In Obscuratorium, the camera becomes a tool for resurrection. What was once discarded is granted another life, not as it was, but as something transformed.

This body of work reflects my desire to slow down and listen to what remains. To sit with ambiguity. To allow darkness to become fertile rather than frightening, and to find meaning not in clarity, but in atmosphere and suggestion.