Constructing Beauty
My photography offers an exploration of construction sites as spaces of unexpected artistry and balance. Often seen as chaotic and noisy, these environments, through my lens, become dynamic arenas where raw materials, workers, beginnings of structures and machines intersect in surprisingly harmonious ways.
As a formalist, my focus is not on the narrative of the construction process or the people within it, but rather on the visual elements of the scene itself. I seek out fleeting moments when the disorder of construction aligns into a calm, almost serene composition, revealing an underlying structure that might otherwise go unnoticed. By emphasizing the formal aspects—lines, shapes, textures, and the play of light and shadow—I aim to show how these elements, independent of context, can be seen as objects of beauty.
I am fascinated by visual density and I try to ensure that every section of the frame contains something—whether it’s a person, object, or structural element—avoiding large areas of empty space. A beautiful composition sometimes jumps out at me and other times I must work hard to find it. Fences, an unavoidable feature of construction sites, sometimes restrict the boundaries of my compositions. Other times, what might seem like barriers instead serve as compositional elements—grids, shadows, and frames that contribute a distinct beauty of their own.
Through my art, I challenge the viewer to pause and reconsider the aesthetic potential of industrial spaces. By focusing on the formal qualities of construction, I remind us that even within the cacophony of industrial activity, there exists a quiet beauty—a moment of balance amidst the storm.
My photography offers an exploration of construction sites as spaces of unexpected artistry and balance. Often seen as chaotic and noisy, these environments, through my lens, become dynamic arenas where raw materials, workers, beginnings of structures and machines intersect in surprisingly harmonious ways.
As a formalist, my focus is not on the narrative of the construction process or the people within it, but rather on the visual elements of the scene itself. I seek out fleeting moments when the disorder of construction aligns into a calm, almost serene composition, revealing an underlying structure that might otherwise go unnoticed. By emphasizing the formal aspects—lines, shapes, textures, and the play of light and shadow—I aim to show how these elements, independent of context, can be seen as objects of beauty.
I am fascinated by visual density and I try to ensure that every section of the frame contains something—whether it’s a person, object, or structural element—avoiding large areas of empty space. A beautiful composition sometimes jumps out at me and other times I must work hard to find it. Fences, an unavoidable feature of construction sites, sometimes restrict the boundaries of my compositions. Other times, what might seem like barriers instead serve as compositional elements—grids, shadows, and frames that contribute a distinct beauty of their own.
Through my art, I challenge the viewer to pause and reconsider the aesthetic potential of industrial spaces. By focusing on the formal qualities of construction, I remind us that even within the cacophony of industrial activity, there exists a quiet beauty—a moment of balance amidst the storm.