You Look Lonely is a series of portraits of AI avatars, which are photographed in detail directly from a smartphone screen. The work examines the increasing popularity of AI relationship apps: platforms designed to facilitate lifelike interactions with digital personas. Posited as an antidote to the global loneliness epidemic, these sophisticated AI chatbots are engineered to act as friends, confidants, and even lovers. Replika, one of the many AI relationship apps, claims to have over 40 million users, offering a connection that never rejects and never sleeps. Inspired by the appearance of X-ray photography used to reveal hidden layers beneath artworks, You Look Lonely reverses this idea and instead focuses on what lies on the surface; by using the scratches, marks, and embedded features of the screen, it centres the phone itself in the conversation. Despite the realism of today’s AI, the physical device remains a final barrier to true immersion and integration. But as that friction disappears and the synthetic blurs into reality, the question shifts: Will we find that the "perfect" companionship of the AI is more desirable than the complexity of human interaction? Will we find that AI has already saturated every aspect of our lives to the point that the choice is no longer our own?

A Trace of You examines the fragmented boundaries of Romania's past and present. Within the impersonal apartment blocks of communist Romania, potted plants represented a sense of warmth. A Trace of You revisits this era with a found photograph from the time, showing three men proudly posing with their plant. Using chlorophyll printing, this photograph is reproduced on leaves gathered from these same apartment complexes. This represents a dialogue where the plant recreates its history through human memory. Imperfect and ephemeral, these decaying leaves reflect their subjects and represent how the boundaries of 'then' and 'now' are profoundly fragile.

Faint Transmission draws on the beliefs of the Aetherius Society, a UFO religion founded in 1955 by George King, who claimed to have received telepathic messages from extraterrestrial beings. The group continues to perform rituals on Brown Willy, a Cornish hill which they believe is a point of contact. Reimagining the landscape as a signal, the series employs an iconography drawn from early space imaging. The work translates the ordinary into the alien, rendering Brown Willy remote and indefinite, like messages from afar that suggest the tenuousness of distant communication.

Election Interference is a document of defaced election posters from the Romanian presidential elections (2025). The candidates themselves were running after Călin Georgescu's disqualification for verified Russian interference. The defaced faces are a spontaneous response - equal parts satire, equal parts protest.

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.