Transit employs long exposure photography to transform the concept of waiting from passive to dynamic. It highlights the contrast present in transport, capturing moments that are both suspended in anticipation and filled with the continuous movement of travel.

And Then Comes The Calm is an exploration of contemporary Romania. Utilising toy cameras to intentionally soften and blur the images, this project captures a dreamlike atmosphere and a haunting sense of memory. These photographs reflect on Romania's turbulent history and its ongoing journey of renewal and transformation.

Election Interference is a documentation of defaced campaign posters from the current Romanian presidential elections (2025). The candidates pictured are those now vying for power in the wake of Călin Georgescu’s disqualification over confirmed Russian interference. The vandalised faces are a visceral response - part satire, part protest.

The Dying Light is a set of four fumage prints created inside the metal candle burners found outside four Romanian churches. The burners offer a space to light candles in prayer for both the living and the dead. The prints capture the smoke of candles already lit. In doing so, they hold the presence of those for whom the flames once burned, becoming vessels of spirit and memory.

On December 16, 1989, protests against Nicolae Ceaușescu erupted in Timișoara, Romania. The demonstration quickly grew into a mass uprising. Security forces opened fire on the crowds, killing dozens. In the early hours of December 19, around forty bodies were secretly loaded into a refrigerated truck, and transported to Bucharest. That night, they were cremated in secrecy, and their ashes scattered into a canal near Popești-Leordeni. When The River Ends, So Do We responds to this act of erasure. The work presents five glass plates, each made using water drawn from the Dâmbovița River - the same river through which the victims’ ashes would have passed. Each plate is backed in gold, echoing Orthodox iconography once banned under communism. In contrast to the regime’s attempt to erase the dead, the work reframes them not as lost, but as sacred.