Art Portfolio
The Portfolio
A textual exhibition of selected works. This is not a gallery, but a deep dive into the process, concept, and narrative behind each series.
‘Urban Isolation’ (2023-2024)
A study of solitude and connection in the modern metropolis.
The “Urban Isolation” series is the cornerstone of my recent photographic work. It is a long-form documentary project, shot entirely on 35mm black-and-white film (Kodak Tri-X 400), exploring the profound sense of solitude one can experience while surrounded by millions. Berlin, my home, is the canvas—a city of stark contrasts, brutalist architecture, and fleeting human interactions.
My process for this series was intentionally slow and methodical. I abandoned the digital workflow in favor of the tactile, deliberate nature of film. Using a fully manual Leica M6 and a single 50mm lens, I was forced to become an invisible observer, waiting patiently for moments of quiet introspection. The project is not about staged portraits; it is about capturing people in the “in-between” spaces: the commute on the S-Bahn, the quiet moment behind a rain-streaked café window, the solitary figure dwarfed by the concrete expanse of Alexanderplatz.
The high-contrast grain of the film is a deliberate choice. It mirrors the grit and raw texture of the city itself. I am fascinated by the interplay of light and shadow—how a sliver of light can illuminate a face in a crowded subway car, momentarily separating that individual from the anonymous mass. Each photograph in this series is an attempt to find the human narrative within the overwhelming geometry of the urban landscape. It asks the question: In a city designed for connection, why do we so often feel alone? The final prints are large-scale silver gelatin prints, emphasizing the texture and depth that only a physical darkroom process can provide. This body of work is not just a collection of images, but a diary of observations on the modern human condition.
‘Chroma Flow’ (2024)
An exploration of liquid identity and digital imperfection.
If my photography is about capturing the real, my digital art is about constructing the surreal. The “Chroma Flow” series is a departure from my analogue work, diving fully into the realm of 3D rendering and procedural generation. This project began as an abstract inquiry: What does emotion *look* like as a physical object? What is the texture of a fleeting thought?
Using Cinema 4D and Redshift, I created a series of “impossible objects”—forms that appear to be both solid and liquid, metallic and organic, frozen in a state of perpetual transformation. The challenge was to defy the sterile perfection often associated with CGI. I spent months developing custom procedural shaders that would introduce flaws. The final renders are infused with digital “noise,” subtle chromatic aberrations, and microscopic textural imperfections. This, for me, is what gives the work its soul.
The vibrant, iridescent colors are not arbitrary. They are mapped to data sets of my own biometric feedback—heart rate and galvanic skin response—recorded while listening to specific musical pieces. “Chroma Flow #3,” for example, translates the chaotic energy of a Stravinsky composition into sharp, fractured forms, while “Chroma Flow #5” uses the calming, repetitive structure of a Steve Reich piece to generate smooth, flowing, pearlescent shapes. This series is my attempt to build a bridge between the digital and the visceral, creating art that is born from code but speaks in a human, emotional language.
StilHaus Architecture: Branding as Atmosphere
Applying artistic principles to commercial identity.
My creative portfolio is where my artistic sensibilities are applied to solve strategic business problems. The StilHaus Architecture project is a prime example. The client, a high-end minimalist architecture firm, felt their existing branding was generic and failed to capture the premium, tactile nature of their work.
The brief was to “avoid a logo.” They wanted an identity that felt less like a stamp and more like an *atmosphere*. My solution was to build their entire visual language around the core principles of their own work: light, texture, and negative space.
Instead of a single static mark, I developed a dynamic typographic system using a sharp, geometric sans-serif typeface (Akzidenz-Grotesk) that could be deconstructed and rearranged, much like architectural blueprints. The color palette was restricted to concrete gray, matte black, and a single “living” accent: a deep, oxidized copper green. The most critical component was the photography guideline. I art-directed a new shoot for them, moving away from bright, sterile building shots to moody, intimate photos focusing on the *texture* of their materials—the grain in the wood, the coldness of the steel, the way light fell across a concrete wall at dusk. The final 50-page brand book defined not just fonts, but the *feeling* of their brand, ensuring that every touchpoint, from a business card to their website, felt as considered and premium as the spaces they design.
Let’s Create Together
I am available for commissions, collaborations, and freelance projects. Let’s discuss how we can bring your vision to life.