I photograph buildings until they stop being buildings. My work sits between architectural photography and color field painting — facades become canvases, shadows become geometry, and structures by architects like Le Corbusier and Ricardo Bofill reveal something quieter than their reputations suggest. I shoot Brutalist and Modernist landmarks across Europe, North Africa, and South America, always chasing the same thing: the frame where architecture tips into abstraction.
Architecture was my first language, studied at Cornell and sharpened during a summer with Sou Fujimoto's studio in Tokyo. Photography is how I stayed close to it. Every image depends on the exact intersection of a building's form, the angle of approach, and the position of the sun — a window that can last minutes, or not open at all. I don't manufacture shadows or light. I wait for real ones.
Each print is produced as an archival giclée on lustre photographic paper, finished in a walnut frame with an elevated float mount — built to hold its own on a gallery wall or anchor a room. I work from a restrained, moody palette with real saturation, so the color reads as considered rather than graphic.
Based in New York.