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. Marketed as an antidote to the global loneliness epidemic, these sophisticated AI chatbots are engineered to act as friends, lovers, and confidants. Replika, an AI relationship app, claims to have over 40 million users by promising 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 the final barrier to true immersion.

In Communist Romania's standardised grey apartment blocks, potted plants were quiet acts of resistance that brought warmth, colour, and life to otherwise sterile and impersonal spaces. They were gestures of individuality - a declaration of presence and humanity. This work engages with that history through a photograph from the Communist period. I discovered the photo in an antique shop: three men proudly posing with a potted plant, as if cherishing a companion. Using the technique of chlorophyll printing, the picture is printed directly onto living leaves collected from the very same apartment buildings where such plants once lived. The choice of material creates a conversation between medium and subject: a plant reproducing its own image through human memory. Some of the prints are imperfect, mirroring how memory itself can deteriorate. The work ponders how both histories and lives only endure in delicate, fractured remains.

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.

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.

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.