My practice critically examines capitalism’s impact on individuals and the environment, drawing from Marx, Lukács, Debord, and Fraser. I explore industrial production’s role in alienation, exposing how consumerism and technology reduce life to commodified spectacle.

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Inspiration comes from observing social structures—empty offices at night, dehumanized cities, nature tamed by concrete—revealing cracks in the dominant order. Like Debord, I see images replacing lived experience, and my visual language captures these tensions.

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My work interrogates the human condition under capitalism: how people resist or conform to oppressive structures. In Fake Flower and uɐɯoM, I critique the gendered alienation of consumerism. Artificial flowers and red fabric symbolize market-distorted femininity: flawless yet emotionally hollow, as Fraser’s analysis underscores.

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Aesthetically, I blend long takes, fragmented narratives, and surrealism (à la Deren, Akerman, Lynch). Repetitive actions—a woman hammering a mall wall, another drifting between postures—embody both defiance and existential dislocation.

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I reject documentary neutrality for sensory, poetic immersion. Experimental editing, lighting contrasts, and nonlinear rhythms heighten the critique, treating each image as a situationist intervention—exposing spectacle’s mechanisms to provoke confrontation.