Influenced by accounts of mystical visions, embodiment psychology, and 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 encounter with the thresholds between presence and absence, vitality and decay.

Images are alchemized through paint and a process that merges painting with photography, rendering the fixed surface of the photographic print unstable. Ink becomes fluid and painterly, merging human touch with the mechanically produced image. Drawn from everyday encounters—leaves, water, bodies, animals—these forms become strange through isolation and heightened attention. Bodies dissolve beneath water, light gives objects a glow, and shadows take on lives beyond their sources.

Rather than imagining transcendence as escape, this body of work locates it in ordinary moments when opposites collide: light and shadow, matter and spirit, life and death. Ecstasy emerges as a rupture in perception—a brief, electric moment in which the familiar becomes strange. These tensions evoke the ancient meaning of ekstasis: to stand outside oneself, to be momentarily displaced.