My work has been divided into islets, often connected to one another and analytically distinguishable. 

You are here and you’ve become a moth. You will soon be bound towards the light.

Did you know moths orient themselves through celestial light sources?
You too will re-orient and navigate by constantly following a source of light. 

If you are not able to figure out what to do or where to go next, move your cursor around and wait for the moth to appear and it shall guide you.
Orienting yourself may be difficult but this will eventually become amenable.

You will also come across an insect collection. Each of them has their own story to tell. A moth will appear on top of a few specimens; you can click wherever the moth appears and it will lead to several paths.

I developed an image to accompany each thought or word on the map while sometimes an image comes and thoughts and words follow. This is how I have almost always worked. The words, the titles tie my work together to tell a story. These imitations of systems, and elements of nature (embodying a moth or sacred geometry) are akin to sensibilities and structures of everyday life.

A dodecahedron will keep appearing in my work as crystal-like structures, warping time and bending space, made of natural and synthetic fibres, bodies, skeletal forms, and skin.
These embellishments are creating frames through which we experience the world around us, nullifying its chaos. Our everyday lives are reified. In this era of the sixth mass extinction, there is a need for new metaphors to aid us in the mental processing of our current environmental state. My work offers a possible visualisation of the web of this world—our understanding of nature and the implicit human presence in it.

I encountered through using documentary photography the minimal preparation that goes into making the ‘natural’ world. It finds new relevance in these stories, while no longer offering a literal explanation for what is unfolding. The residue of the human becomes a framing device for the ‘natural world’.

We constantly try to separate ourselves from ‘nature’; our presence camouflaged in this new ‘nature’.

‘The Letters Project’ has unobtrusively aided in continuing these conversations. It helped give direction to my body of work, even giving it shape in this format through the implicit presence in others’ work as footnotes in the form of a moth.