About
"I am drawn to the quiet dialogue between light, texture, and time"
Visual Artist
I am Swiss and British, born and raised in Geneva, and now divide my time between the two countries. A self-taught photographer, I still work primarily with my Olympus OM-1, a 35mm SLR, drawn to the richness and depth of analogue film, though I occasionally work digitally when the project calls for it. My fridge overflows with rolls of film - the material at the heart of my practice - where the slowness of the process demands focus and each frame becomes deliberate and precious.
​
Photography has been my constant companion throughout life's twists and turns. In conflict zones, where beauty often felt scarce, it became an anchor, however fleeting. What you see in my work today took root in those moments, in places where stillness was rare.
​
My work has been exhibited in over a dozen galleries and exhibition spaces in Switzerland, the UK and South Africa, and is held in private collections across Europe, Africa, Asia and Australia.
Author
Writing has long accompanied my photographic practice. With a background in humanitarian anthropology, and studies at Vassar College (USA) and the London School of Economics (LSE), I am drawn to research and fieldwork, immersing myself in different communities and perspectives.
Between 1995 and 2015, I worked intermittently as a field delegate in conflict zones for the International Committee of the Red Cross (ICRC), contributing to policy work, particularly in the Balkans.
​
Alongside my artistic work, I have written and edited across a range of cultural and editorial projects. My work includes researching and authoring Exploring the Mystery of Matter for CERN (Papadakis), editing WOW, a powersports magazine for BRP, and writing the English version of The Verbier Chronicles (2025). I also spent four years running the London-based independent publisher Urbane Publications.
Artist Statement
My practice unfolds in stillness, through material inquiry and experimentation, often outdoors and in close dialogue with nature.
​
Working with fragile elements, such as fallen wings, fading blooms, charred wood, and damaged mercury mirrors, I create ephemeral environments while also responding to found scenes, observing these materials as quiet evidence of the living world.
​
Informed by an anthropological attentiveness to matter and detail, my work explores textures, traces, and subtle states of transition, revealing the quiet beauty that emerges as living forms move between decay and renewal. There is little artifice and rarely any retouching, as my pursuit is not perfection, but the raw beauty, texture, elegance and stillness found in imperfection.
​
The resulting images hover between dreamscape and document: fleeting tableaux shaped by light, texture, and restrained symbolism, held within the memory of film. I work slowly and intuitively, embracing unpredictability - film damage, light leaks, expired stock, and unorthodox lenses - as part of my visual language. Breaking down and combining materials to create contrasting textures feels almost alchemical, imbuing each work with uncertainty and singularity.
​
While my practice centres on analogue photography, I also work digitally when the project calls for it.
​
My photographs move fluidly between abstraction and figuration, offering a contemporary interpretation of the still-life tradition in which time, material, and memory intersect.
​
Increasingly sculptural in approach, I explore working with paper, textile, and resin, all rooted in photography, while carefully considering paper, mounting techniques, and format.
​
I have also developed a standalone photographic object, accompanied by a related series of images, that extends the work into the three-dimensional realm, allowing photography to exist simultaneously as image and object. Each piece is unique, adding to the singular character of the edited series.
