Alongside my street portraits and urban scenes here in Asia, I also devote time to using my camera and its 35 mm prime lens as a blunt painter’s brush.

The world around me is a palette of shifting shapes, light and colour; the sensor is my canvas.

With the shutter kept open manually – often for several seconds – my micro-movements create motion blur, pulling forms out of their contours and inviting geometric shifts and juxtapositions.
Some shapes come forward; others bend, soften, recede or smear into muted tones.

I’m not trying to tell the story of what’s in front of me. I use the physics of exposure and perspective to free the camera from its promise of reliable depiction – and myself from the rules of aesthetics and compositional theory.

I want my perceived reality to shift beyond recognition, into the realm of abstraction that we so assuredly call life.