I’ve been returning to Monuments lately, sitting with the images, the sessions, the conversations that shaped them.

Antonin Artaud’s drawings, and his papier works, have long served as a touchstone for thinking about the body, its limits, and the violence of representation.

Selfhood redefines self‑portraiture by archiving discarded body hair, exploring identity through material trace, abjection, and the tension between presence and absence.

Mishima once wrote, “Scenic beauty is hell, isn’t it?”
The hell here is how quickly the landscape takes control.

I’ve come to see confusion not as a flaw in thinking but as a vital creative force.

In my creative practice, interdependence forms the foundation of collaboration, shaping both the process and the final images.

Every time a new technology arrives, we seem to have the same argument. Is it real art? Is it cheating? Will it ruin everything?

Photography has long carried the burden of being treated as evidence: an objective slice of reality, frozen and preserved.

This project is a simple but revealing demonstration of artistic constraint in action.

The zoo is not simply a place where animals are housed—it is a meticulously designed theatrical environment, a mise-en-scène.