I picked up a camera in Paris in 2015 and quickly fell in love with analogue photography—black-and-white film, the grain, the deliberate pace of it all. My early work was all about empty scenes: architectural lines, geometric shapes, and the play of strong light and deep shadow. I worked almost exclusively with a 35mm lens, learning to feel space and framing intuitively. People were absent, but the images still felt alive with a kind of silent tension.

In 2020, I moved to Tokyo, and my photography shifted. I began focusing on portraits, yet I carried with me the same obsessions—bold contrast, sharp geometry, and the drama of light. Now, the human figure sits at the center, but never alone. I place models within carefully structured environments, exploring how bodies respond to space, light, and shadow. When I shoot, I hover somewhere between participant and observer—close enough to feel the moment, but always slightly removed. That balance is what I’m after: images that carry both intimacy and restraint, where the person becomes part of a larger composition rather than the only subject.