“A good photograph is one that moves.”
Photo courtesy of Nika Prokopenka
Before I learned of this, I photographed my own pieces with a clean, static, technical approach. I'd trained as a Jewellery and Artefact maker - hours at a bench, creating, polishing, repairing, then polishing again. It seemed natural to think the pieces would speak for themselves: the craft behind them and the mindfully chosen materials would speak on my behalf.
By the end of that education, I realised the language I needed - from object to person - wasn't one I knew yet.
A Pocketcomb from the graduation collection, crafted in Perspex & Silver.
Curiosity took me from London to Mumbai, then into the Mining and Minerals sector in Antwerp - into a Marketing and Communications department, where meeting Master diamond cutters, polishers and Jewellery makers was as much the job as telling their stories.
Around that time, I bought my first camera, found Martha Cooper's work at an expo in Brussels, and heard a manager say the line above. The alchemy of it all - the nerve behind a photograph with a clear visual voice, and the craft of image-making answered a curiosity I'd been carrying since Design school.
I still photograph both ways. On my own - people, streets, street art, a city once the light's gone soft, no brief, nobody to please. And at work - to a brief, for a project, always with a clear destination in mind.
CURRENTLY
Antwerp, BE
Taking projects for 2026 Europe-wide.
I read everything myself, usually back within a day or two.
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