‘Urban Isolation: The 35mm Prints’

On view at C/O Berlin, Germany — Oct 15, 2025 – Jan 10, 2026

This is the first major solo exhibition of my ‘Urban Isolation’ series, presented as a complete body of work. The show features 30 large-scale, hand-printed silver gelatin prints, moving the work from its digital conception into a physical, tactile space. The curatorial focus is on the dialogue between the individual and the metropolis.

Presenting this work on film, in a physical gallery space, is essential to its concept. The grain of the Tri-X 400 film, visible in the large prints, mirrors the concrete grit of Berlin. The exhibition is designed to be experienced slowly. Each image is intentionally under-lit, forcing the viewer to move closer, to engage in the same act of patient observation that was required to capture the moment. This show is not just a collection of photographs; it is an installation about the act of seeing and the beauty of quiet solitude.

‘Meta-Fluid: The Digital Form’

König Galerie (KÖNIG DIGITAL), Berlin — Opening Spring 2026

I am thrilled to announce my upcoming collaboration with KÖNIG DIGITAL. This will be my first foray into a fully digital exhibition, showcasing the ‘Chroma Flow’ series as a collection of dynamic, generative artworks. Unlike the static prints, these pieces will be displayed on large-scale 8K screens, with each “impossible object” slowly transforming and reacting to ambient data. The core of this show is “digital imperfection”—exploring how code can be used to generate forms that feel organic, flawed, and inherently human. This exhibition will challenge the boundary between the physical and the digital, asking what it means for an artwork to be “alive.”

In an age where art is consumed instantaneously on a 6-inch illuminated screen, what is the value of a physical exhibition? Why endure the cost, the logistics, and the limitations of a physical space? For me, the exhibition is not just a method of display; it is the final, critical step in the artistic process. It is the moment the work is truly *finished*.

An image on Instagram is a passive experience. The viewer scrolls, double-taps, and moves on. The light is emitted *from* the art. But a print in a gallery is an active experience. The light must *travel* from a source, bounce off the paper, and enter the viewer’s eye. The viewer must move their body, to lean in to see the grain, to step back to absorb the scale. The print has texture, it has presence, it occupies the same physical space as the viewer.

This is particularly vital for my photographic work. A digital file of a 35mm photograph is only a *scan* of the art; the *art itself* is the negative, and its final form is the silver gelatin print. The ‘Urban Isolation’ show is a testament to this. In the darkroom, I made deliberate choices about dodging and burning, about the paper’s contrast, about the final size of the print. These choices are as important as pressing the shutter. The exhibition is the only way for the work to be seen as it was intended.

Even for my digital-native ‘Chroma Flow’ series, the upcoming exhibition at KÖNIG is about transcending the screen. By presenting the work on massive, architectural-scale displays, we are challenging the viewer’s relationship with digital art. It is no longer a small, passive image on a feed; it is an environment. It has scale. It has the power to envelop the viewer. The exhibition, whether digital or physical, is a conversation. It is a shared space where the artist and the audience can finally meet.