Astronauts in Tin is part of a photographic series exploring the world of cosplay and its surreal tension between fiction and reality regarding identity - revealing how characterism functions as both a form of escapism and a tool for self-expression. The project reflects on how identity is constructed and constrained within society, and how cosplay acts as a form of resistance against normative structures. By reclaiming space and bending the boundaries of so proclaimed adulthood, it exposes the line between reality and the surreal - showing that both are, ultimately, conceptual.

This project is follows my mother’s past as a former nun, tracing her life across Europe through her diaries. It’s a personal and political archaeology of womanhood, memory, and identity - engaging with my mothers hidden identity to understand my own.

This photograph is part of Legs, a series made in Ukraine that reflects on the ethics of looking at war. In images of conflict, the body is often fragmented - turned into symbol, gesture, or wound. The series questions how images of conflict can aestheticize suffering and, in doing so, distance viewers from the human reality they depict.

Wiljo is 60 years old, but due to her medication, she appears older. The work reflects on the process of aging, society’s valuation of vitality, and the isolation that often accompanies old age. Through this, aging is not portrayed merely as a personal experience but as a social condition.

Sans Papiers portrays the sellers of Eiffel Tower souvenirs in Paris, a contemporary form of neo-slavery within the neoliberal landscape.

The same object - the miniature Eiffel Tower - functions both as symbol of national pride and as a tool of exploitation. Tourism, as a global capitalist machinery, creates a surreal tableau where leisure, precarity, and inequality collide.
The anonymity of the project is not just a stylistic choice but an ethical one. It protects those portrayed while emphasising how systemic structures erase individuality.

Ultimately, Sans Papiers seeks to make visible what is intentionally obscured: the human cost of Paris’s postcard image.

The series has spread in a series of 150 posters around Paris in 2024.