Luz Assemblage
abstract Photography
creative scholarship
*
work in progress/anticipated
Assemblage-based photographic setups and group exhibition overview.
Fujifilm XH2 + XF 30mm f/2.8 R LM WR Macro Lens.
This series of photographs uses an assemblage process that welcomes instability and subtle disruption. Each image emerges from temporary arrangements of found objects placed in front of the lens and lit by two light sources. These configurations are continually adjusted and dismantled, emphasizing impermanence over resolution.
Across the series, small anomalies surface as compressed fragments, soft focus, color shifts, and irregular repetitions. These disruptions register as slight misalignments rather than overt gestures, leaving the images unresolved and quietly dislocated.
Across the series, small anomalies surface as compressed fragments, soft focus, color shifts, and irregular repetitions. These disruptions register as slight misalignments rather than overt gestures, leaving the images unresolved and quietly dislocated.
The first row of photographs was featured in Kindred Gallery’s (Docklands, Australia) group exhibition, Anomaly: Out of Place, which showcases 50 international artists whose work resists traditional expectations across photography, sculpture, installation, collage, and experimental processes. The exhibition ran from March 14–24, 2026.
Combinados comes together through collecting, cutting, and rearranging—pulling images from the Luz Assemblage photo series, along with found paper ephemera and textures generated through spray paint, markers, and inks. This process allows me to continue working intuitively.
Different paper finishes, colors, typography, and image fragments begin to carry new visual weight depending on where they land and what they sit next to. Some elements hold their presence; others dissolve or only partially reveal themselves. That push and pull is where the work lives. What I’m after is a kind of friction—something active, slightly unresolved, but still held together. Not perfect, not fixed—just enough to keep you looking.
Different paper finishes, colors, typography, and image fragments begin to carry new visual weight depending on where they land and what they sit next to. Some elements hold their presence; others dissolve or only partially reveal themselves. That push and pull is where the work lives. What I’m after is a kind of friction—something active, slightly unresolved, but still held together. Not perfect, not fixed—just enough to keep you looking.
Combinados
analog collage
Print/mixed media
creative scholarship
*
work in progress/anticipated
