Influenced by accounts of mystical visions, embodiment psychology, and modernist theories of profane illumination, these works consider how the spiritual might be sensed within the material world. Rather than seeking revelation through apparition or fantasy, they invite a slowed, temporal encounter in which the viewer becomes aware of their body’s position in the membrane between presence and absence, vitality and decay.

Images are alchemized using paint, as well as with a novel technique that merges painting with photography. This hybrid process renders the fixed surface of the photographic print unstable, its fluidity transforming ink to paint and resulting in an image that merges human touch with mechanical. The images themselves draw from everyday encounters– leaves, water, bodies, animals– yet through isolation and heightened attention, they become charged with numinous gravity. Ordinary forms become thresholds when submerged in water, or illuminated by light. Bodies dissolve into abstracted color and form in water, light gives a glow, shadows take on life beyond their sources, suggesting the body’s extension outside itself.

Rather than depicting transcendence as escape, this body of work depicts ordinary moments that become extraordinary when opposites collide: light and shadow, matter and spirit, life and death. Ecstasy appears here as a rupture in perception, a brief yet electric moment of revelation through phenomenological paradox. These visual tensions evoke the ancient meaning of ekstasis: to stand outside oneself, to be momentarily displaced.