This participatory photography practice unfolds as long-term research rooted in relational methodologies that actively disorient hierarchy and challenge normative visual narratives. It does not begin with the image, but with the construction of conditions—spaces where roles shift, authorship is redistributed, and the act of looking is no longer fixed or neutral.
Photography operates as a site of negotiation. Images emerge through processes that blur the boundaries between who sees and who is seen, who frames and who is framed. Rather than reproducing extractive or representational logics, the work constructs situations of co-presence where meaning is produced collectively and remains open.
At its core, the practice engages the body as a locus of affects—not as an object to be captured, but as a site where intensities, contradictions, and relational tensions take shape. What appears in the image is not a resolved statement, but a field of forces that remains active: proximity and distance, exposure and withdrawal, control and surrender.
The methodology insists on destabilizing the structures that underpin both image-making and perception. Hierarchies of authorship, visibility, and value are continuously questioned through the conditions in which the work is produced. Mediation is not an added layer but the core of the practice, shaping how encounters are held and how images are allowed to emerge without being fixed.
The work sustains complexity as a form of rigor. In this context, photography becomes a space where relation, affect, and form intersect—where the image is not an endpoint, but an opening.
