Welcome.
My work explores solitude, architecture, and the quiet tensions of urban light. While rooted in the graphic tradition of high-contrast street photography, I’ve moved away from spectacle and precision-timed silhouettes toward a slower, more spatially immersive language. I’m drawn to scenes where human presence is reduced to gesture — a distant figure, a shadow, a trace — framed not for drama but for psychological stillness. Light, in my images, is not a tool for spotlighting but for concealing, revealing, and shaping silence. These photographs are not about decisive moments but about the unnoticed weight of place and pause. They form part of an ongoing investigation into how cities see us — and how we remain unseen within them.
Below you’ll find galleries of my ongoing projects — each with its own visual language and intent.
Come and look closer, you’ll feel it if you stay long enough.
Privacy of Light
Privacy of Light is my main body of work — an ongoing photographic inquiry into the boundaries between public presence and personal space. Shot primarily in Switzerland, where privacy is both a cultural value and a legal right, the series reflects a society that instinctively guards solitude even in the most open environments.
As both a legal professional and a street photographer, I’m deeply aware of the tension between visibility and discretion — of how much we show, and what remains unseen. Switzerland’s strict privacy laws often echo what I witness through the lens: people turned away from view, shielded by architecture, obscured by shadow or reflection. The resulting images are not portraits, but moments of quiet negotiation — between individual and space, exposure and anonymity.
This project is rendered entirely in black and white to distill each scene to its essence: light, structure, gesture. Faces are hidden, bodies abstracted, yet the human presence is unmistakable — always implied, always half-withdrawn.
Privacy of Light is less about isolation than restraint. It’s about the way we move through shared spaces without fully surrendering to them. In a world of constant visibility, these images trace what remains private, even in plain sight.
No One Here
No One Here is a study in absence — a series of photographs where people are not present, but presence is still felt. It shifts the focus away from human subjects to the spaces they leave behind: light on a wall, the rhythm of a staircase, the tension in geometry or texture.
This project explores what remains when narrative is removed and the frame becomes purely visual. Architecture, shadow, surface, and silence take center stage. The result is contemplative and abstract — a photographic pause between moments.
Unlike my street work that deals with privacy and motion, No One Here is about stillness and structure. These are images without events. They ask nothing. They simply exist — composed, quiet, resolved.
Black and white emphasizes form and contrast, drawing the eye into subtle variations in tone, repetition, and negative space. It's a visual counterpoint to the presence-driven work I create elsewhere — a parallel path where looking becomes the subject itself.
Margin of Certainty
Margin of Certainty is a visual study of boundaries — between form and formlessness, between what we build and what we can’t hold. These images were taken in a high alpine landscape where human geometry meets scale, cloud, and time. The series begins with assertive structures: dams, walkways, the clean arc of control. But as the sequence unfolds, the architecture gives way to mist, wind, and distance — and to the small, silhouetted gestures of human presence.
I’m interested in what remains when control slips. When the grid disappears into the weather. Each frame is composed with precision, but I’m not looking for perfection — only a quiet confrontation with space, tension, and light.
Shot mostly with the Leica Q2 Reporter, the series moves between clarity and disappearance — always tracing the edge of certainty.
Details Matter
Details Matter focuses on the fragments that define us — hands, fabric, posture, movement. These partial views reveal presence without identity, inviting the viewer to engage with gesture, texture, and trace.
Where Privacy of Light explores distance and concealment, Details Matter moves closer. Each frame isolates a moment of intimacy, without needing a full face or name.
Shot in black and white, the series emphasizes form and nuance over recognition — a quiet study of how people are seen, without being fully revealed.
Ca. 1/4 of a Second
Ca. 1/4 of a Second is an ongoing series exploring the quiet dissonance between movement and stillness in urban space. Using long exposures as a temporal tool, the project captures moments where time is not frozen, but stretched — blurred just enough to reveal gesture, direction, and decay.
The title refers to a typical shutter speed used in these photographs — long enough to register motion, but short enough to preserve form. In this visual register, people become traces. Presence becomes temporary. Light becomes a unit of memory.
Shot primarily in public spaces across Europe, the images document the flow of anonymous figures through environments shaped by architecture, light, and rhythm. What emerges is not a portrait of individuals, but of time itself — passing, repeating, slipping.
This project continues my broader interest in visibility, privacy, and perception — how we appear, disappear, and are remembered in the shared spaces of modern life.
