French philosopher Gaston Bachelard referred to a systematic psychological study of our intimate lives in reference to phenomenology. Bachelard believed that the house is the shelter of our unconscious thoughts and he glorified architectural space by implying that domestic spaces have the power to stimulate emotional responses. Based on this, I have become inspired to explore my own personal relationship with space.

Architecture and the phenomenology of space are the central themes in my art practice. When I discuss the phenomenology of space, I am referring to the study of the sites of our direct experience. All the buildings that I photograph, study, and draw, are architectural sites that I have visited and been subconsciously intrigued by. The perspectives of the buildings that I depict, reflect my vantage points to more accurately describe my personal experiences. The buildings I depict are predominantly significant religiously, and or politically; I aim to echo the rich histories in these Gothic structures by capturing as much detail as possible in my work. I aspire to produce work that will both immerse viewers into seeing a glimpse of my perception of space. I also aim to lead others to question their own intimate relationships with architecture.

I use drawing as a tool for analysing the structure of buildings. The surfaces I draw onto and the materials I use remind me of the rich textures of the buildings that I depict. I have used materials such as volcanic sand, aluminium, salt, and plastic in the past. More recently, I have begun using mirrored surfaces to draw on to, to highlight my interest in projecting the space of my experiences onto others.
My artwork has been described as illusionistic. The way that the work reflects and warps its surroundings, creates a perceptual illusion. Most recently, I have become interested in how quickly the image can change depending on where it is displayed. Also, the high contrast sand that I use to draw the images, creates an awareness of negative space.

Artists such as Tim Bengel, Ed Pien, and Michelangelo Pistoletto are my main inspirations. Bengel’s use of alternative materials, such as sand and gold leaf, inspired me to experiment with different mediums. Furthermore, Pien and Pistoletto both use reflective surfaces such as mirror and mylar to create dream-like, and imaginary spaces.