Her practice primarily uses photography as a medium to reconsider the mechanisms of “seeing” as a daily act. Vision, as both a technical and cultural experience, is never neutral—it is constantly shaped by systems, power structures, memories, and desires. She remains skeptical of this “given vision,” and seeks out the fissures within the image where alternative modes of perception may begin to emerge.

She is particularly drawn to the ambiguous space between vision and language—the kinds of experience that cannot be directly spoken of through images, the silent emotions, or the habitual ways of seeing that often go unquestioned. For her, photography is a means of constructing vision itself; it has the potential to both produce bias and to dismantle it. Through the image, she aims to establish a fluid relationship between the everyday and the fictional, between lived experience and narrative.

In her process of making, she often places intuition, memory, and accidental experiences alongside critical reflection, questioning how what we consider to be “real” comes into being. Rather than offering fixed answers, she is more interested in raising questions, producing a sense of instability, and opening up new possibilities for how we see and make meaning.

She believes that art may not provide solutions, but it has the capacity to disrupt the familiar structures of understanding. In doing so, it allows new ways of knowing to be imagined, encountered, and even doubted.