My practice centers on the dynamics of surveillance and the gaze, examining the voyeurism embedded in picture-taking and the camera’s immediate ability to sexualize or objectify. The image of the camera lens is heavily relied upon in the works, either pointed at myself - simultaneously rendering me both subject and voyeur - or pointed at the viewer, invoking in the audience an uncomfortable awareness of being seen. 
My work also questions photography’s ability to lie. I create images entirely in-camera, using mirror fragments and targeted lighting to confuse the eye and disrupt the viewer’s perception. This points to photography’s uniquely convincing capability to imitate reality and fabricate truth.
Control and discomfort are prominent points of investigation in my work. To be witnessed by the eye or camera is invasive and exploitative in nature; therefore, by photographing myself, I practice a form of self-exploitation. While the vulnerability of self-portraiture suggests a relinquishing of control, I assert autonomy by putting myself on display, gaining control of the camera, the sexualization of my body, and the attention of the viewer. Another aspect of this investigation is in with black and white film. Printing film photographs in the darkroom provides an opportunity for extreme control over the image. Besides its literal use, the darkroom is also referred to in the utilization of safelights. The red lighting not only points to photography, but invokes feelings of violence and sexuality. Ultimately, my work becomes an experiment in methods of control.