Please Visit My New Webpage:

Please Visit My New Webpage:


Anastasija (a.k.a AliannaS), Faceless (2012)

A collaboration with a brilliant musician, AliannaS. 
The concept of these photographs reflect one of her tunes, Faceless. 

In fact, the music is completely aural while a photograph is wholly visual. 
However, there are so many points which they can meet each other at.  


Untitled | 2012

Photography and music are completely different, at least in appearance, however, both are inevitably related with imagination. 
A series of photograms with cassette tape and colour negative enlarger. 


Sid and Sigala on the stage (2011)

15 July 2011 at Cargo, London.


Sid and Sigala (2011)

I was pleased with photographing this amazing pop duo - Sid and Sigala. 
They are very talented; and also nice and witty. 
Here is their web page address:
These pictures are taken for their website and also their digital album.  


L’Atallah (2011)

This series is for an upcoming musician - L’Atallah. 
These portraits are mostly edited for CD or Digital single album images.
Her music is wonderful; she wanted to be shown as somehow classical, retro-look.  


Insomnia (2011)

My thoughts are uncontrollably growing up like cracks on the wall or pediment or everything which human being has built up on the earth. The life in this modern, risky world is a sort of nightmare. I cannot sleep well; also I cannot live well. Fear eats your soul; I suffer from insomnia even during the day. 


A Study for Landscape: Misty (2010)


How People Enjoyed the Snow or How the Road Can Be Built (2010)


A Study for Portraits: Elements and Moments (2010)

Reportedly, painting has been exploring  abstract ways of looking at the world after the invention of photography. Especially concerned with portraits, Cubism and Francis Bacon had huge influence on how the 3-dimensional space (and a face as a space) can be transformed into 2-dimensional picture. In the meantime, I think, photography has been mainly concentrating on representing the sitter accurately, even though there have been some experiments by multi-exposure or extremely long-exposure or even post-production with digital manipulation. 

It is partly because photography is always invovled with who is the sitter him/herself, rather than how he/she is depicted on the 2-dimensional surface. In other words, since the viewer always conceives of the person depicted and even feels close to him or her (or them), an extremely manipulated depiction of someone is regarded as an indignation about the sitter and is likely to be disapproved. 

This series of photographs are inspired by Marcel Duchamp’s famous painting, Nude Descending a Stairecase, No.2 (1912), and Francis Bacon’s outstanding works. In fact, Duchamp’s picture was obviously influenced by Edward Muybridge’s series of a galloping horse and other similar works. I think he combined each moment of the model’s movement, which is equivalent with each frame of Muybridge’s photographs of the horse, into a single plane of canvas. 

We can easily make this kind of pictures with digital technology today, but I didn’t want to make my image by combining with the different parts from various photographs. I want to draw my picture on a single plane, like a canvas. Therefore, I released the shutter for 30 seconds or 1 minutes and captured my face and body in different positions with flashgun in vitually total darkness (sometimes with a mask which has a triangular shape). Each moment of flickering flashlight become each element of the picture. Elements and moments.