A Japanese Girl  (2025)

Double-sided frames with early 20th century cabinet card, portraits of artist (gelatin silver print, Polaroid, Fuji instant film) and vintage photographs

Responding to the written inscription on the back of an early 20th century cabinet card, A Japanese Girl considers the cultural biases present within archival practices. The work proposes a revision of the visual lexicon of “a Japanese girl” by expanding the original singular archive with portraits of the artist and found photographs. There is indeed an image of a Japanese girl on the front and the double-sided frame seems to offer an opportunity to confirm this. The new archive however, is a collection of images that withholds the typical identifiers (facial features, clothing, location) that support an archetypal system from which the original descriptor derives. The photographs eschew the frontal gaze, never revealing a face. This simple gesture encourages a reevaluation of the parameters that inform what one might expect a Japanese girl to look like. These latent, preconceived images are met with a different visual narrative: the traditional Japanese updo hairstyles and the “signature bun,” a recognizable feature of the artist. All markers of a Japanese girl.
 

目玉焼き (Medamayaki) series (2026) 

gelatin silver prints​

One of the foundational processes of analogue image-making, a photogram is a camera-less photographic image made by placing objects directly on the surface of light sensitive material. Upon light exposure, opaque objects block the light and create white silhouettes, while translucent or empty spaces turn black. 目玉焼き(Medamayaki) is a series of photograms made with eggs, transforming them into glowing suns in space.

 

Silver Sun Red (2026)

gelatin silver print

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Appears to be, Foka Breaths (2021)
gelatin silver prints

A series of sequential self-portraits where exposure is determined by the number of breaths taken. Starting with one breath on the left, each frame is exposed for an additional one until the last frame on the far right, which is exposed for 12 breaths time. The more breaths, the longer the aperture stays open; and the longer the aperture stays open, more light is let in. The progression of longer exposures results in the artist disappearing from the frame due to overexposure. 

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Loop 120 (2018)

gelatin silver print
 

Portrait [Cuerna] (2018)

gelatin silver prints

 

8.875 III (2025)

213 frames of red 16mm leader, resin
The third sculptural iteration of the work 8.875 organizes 213, 16mm frames into a circle. 213 frames has a run time of 8.875 seconds when projected as a moving image and matches exactly the artist’s height of 164cm. The red circle on the white wall subtly recreates the Japanese flag, transforming the artist's body into the circumference of the sun.
 

Silver Sun White (2026)
gelatin silver print

 

Apple Silver (2024)

gelatin silver print

Tamago Stories One (2026)
16mm film,  b/w, silent, 3 minutes
The first in a series about mechanisms, economies, and ecologies of production through the confluence of eggs, photography, and the sun.

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