My artistic journey didn’t come out of a classroom. It came out of living life learning discipline, having respect for distance, and going through days that teach you to notice everything. My time in the armed forces and later as a civilian law enforcement officer trained my eye to read a scene fast, to respect details, and sometimes recognize the weight that people often carry even when they don’t say a word. That background helped me to be precise and also gave me a deep respect for the human condition. Showing me how resilient people are, and how much truth sits inside everyday moments and things. At the core, I’m an observer and storyteller through visual arts within hybrid photography and fine art painting, focused on Southeast Asia. I don’t chase postcard beauty. I chase what feels lived-in. Its cities, coastlines, architecture, and the quiet rituals of daily life. My work is travel as field notes; Bangkok streets where commerce is lived like a temple ritual, transit lines and passengers that move with the grace and feel of choreography. Night markets where neon becomes mood, and interiors where silence has weight. Places are my main character. People appear as silhouettes, or traces of interruptions in the presence without being put on display. My influences are clear and I don’t hide them. Studying Roy DeCarava, Fan Ho and Henri-Cartier Bresson; taught me that style means nothing if the work can’t hold humanity. His honesty of being direct, dignified and unromantic is how I shoot and how I edit. I lean into Man Ray without apology, I took permission to push form when the scene calls for something stranger, tighter, more avant-garde like. And from, Shawn Martinbrough and Marcos Mateu-Mestre, I learned how to build drama with structure: chiaroscuro discipline, cinematic framing, and storytelling that happens inside one frozen moment. Process matters to me because it’s where the work becomes real to me. I specialize in silver gelatin and platinum/palladium prints because they aren’t trendy outputs, they’re physical, archival, and demanding and they force you to commit. Silver gelatin on fiber paper is the backbone of my work, with controlled contrast, deep blacks, and tonal separation that holds up under a safelight. Platinum/palladium is a slower stage with long tonal roll, surface beauty, and the kind of permanence that matches the places and stories I photograph. I’m drawn to these methods because longevity isn’t a marketing word to me. It’s respect. I use my lens and my brush to honor what I’ve seen. I’m grateful for every collector who brings my work into their space, living in homes and businesses as wall art. The diversity, the tension, the quiet grace, the everyday resilience in my works is what I take serious. I want the prints to do more than “match the couch”. If someone stands in front of one of my pieces and starts talking about the city or about a memory of theirs. About solitude, beauty, even about what they’ve lived through, then the work is doing its job. Becoming a mirror as much as a window out in the world, holding its ground while staying with you.