《Consumer Waste》

Photographed in an IKEA restroom.

In this ongoing photographic series, I document intimate, in-between moments of contemporary life—quiet, absurd, often overlooked. Captured from the vantage point of a bathroom stall, the images explore the intersection between consumerism and bodily reality. Branded objects like coffee cups, tissue dispensers, and smart devices find themselves placed in the most unglamorous of spaces, revealing the humor, tension, and banality of our modern routines.

By photographing from a seated, subjective point of view, I aim to blur the line between private and public, luxury and necessity, comfort and discomfort. These confined moments speak to a universal experience—one that is simultaneously personal, humorous, and existential.

“Presence and Silence:

Navigating Style in Photography”

In the process of photographic creation, whether and how to express personal style is a fundamental question every photographer must face. Style is the embodiment of a photographer’s visual language—it reflects their ideas, emotions, and aesthetics. However, like all forms of expression, style requires restraint and sensitivity. Just as a basketball referee who calls attention to themselves too often can distract from the game itself, a photographer who overly emphasizes their style or technical skill risks pulling the viewer’s attention away from the subject of the photo. The image may then become more about the creator than the content.

An effective photographic style should not overpower the subject; rather, it should function like a film score—shaping atmosphere and guiding perception without breaking immersion. Style ought to be subtle yet present, acting as a bridge between the subject, the photographer’s vision, and the viewer’s emotional response. In fields like documentary, journalistic, or social photography, photographers must be especially careful not to impose too much of their personal aesthetic, prioritizing truth and respect for the subject. In contrast, artistic, conceptual, or portrait photography allows for greater stylistic freedom, but even here, form must serve the message—not overshadow it.

Put simply, a photographer’s style should be in service of the work—it is a means of deeper understanding and emotional expression, not a display of self-importance. The most powerful photographs are not those that show off the photographer’s skill, but those that reveal the photographer’s unique way of seeing and connecting with the world.