Exploring the inner layers as they unfold across
a single, living surface.
I am a self-taught photographer and multidisciplinary artist based in the UK. My practice began in documentary and conflict photography, but over time has moved away from photojournalism towards a more experimental and abstract approach to image making.
I work primarily with multiple exposures and slower shutter speeds, using movement, time and overlapping fragments to construct images rather than simply recording a single moment. The resulting photographs often take on a painterly quality, becoming increasingly abstract in form.
I spend lots of time making the final piece, beginning by sculpting by hand sheets of pure cotton paper, creating irregular, highly textured surfaces. Photographic emulsions, inks, waxes and other finishes are then worked into and across the paper. The texture, irregularities and surface treatments break into the image, adding depth and tactility and giving each piece its own physical character.
I am interested in creating a feeling rather than delivering a specific message. Surrounded by an enormous amount of sensory noise, I am increasingly drawn to making work that does the opposite work that slows things down, creates space, and quietens the loud.
Experimentation is central to my practice. I deliberately allow the process, materials and unexpected results to influence where each piece goes.
From a Twenty Second Image to Everything After
His path began with a single failed photograph, an image that survived only twenty seconds before fading to black. That moment turned photography into a challenge he refused to abandon.
His relationship with the medium took shape in the early 90s in London. He converted his bathroom into a darkroom and spent long hours trying to produce a print worth keeping.
In 1994 he returned briefly to his hometown, Skopje, Northern Macedonia, where he spent some time documenting the city and the surrounding towns and villages. The mood was grim; a few hundred kilometres away, the war in Bosnia was in full force, and that weight pressed into the images he made, direct, subdued, and unembellished. When he returned to London and developed those rolls, he understood that photography would not be a passing phase. In 1999, with no hostile-environment training, no field experience, no commission, and only an entry-level camera, he travelled to document the Kosova War. That decision led him into news, current affairs, and documentary filmmaking for major UK and international broadcasters. Photography always remained something he returned to and his passion for it has only deepened over time. After Kosova and later Iraq, he realised that conflict photography was an addictive space it pulls you in and can leave you lurking in the dark indefinitely if you’re not properly prepared and supported. Yet he has always admired those who step into a realm where the line between sanity and madness is almost nonexistent, risking everything to keep the public informed and document atrocities around the world.
Over time, his photography has shifted to something more personal, an escape from the factual demands of news into a more imaginative and reflective space. In 2020, his image Silent Covid Morning, created during the first UK lockdown, was awarded UK Landscape Photographer of the Year. The recognition reaffirmed his connection to photography and pushed his practice further.
What began as a search for clarity has evolved into an acceptance of the unexpected, and a commitment to keep pushing the image forward.