This body of work uses macro photography as a vehicle for abstraction, transforming familiar subjects like crystals, insects, and everyday household objects into compositions that feel entirely foreign to the naked eye. Through extreme magnification, surfaces and structures that go unnoticed in daily life are rendered monumental, stripping away context and recognition to leave behind pure form, texture, and color. The result is an image that no longer reads as a document of the physical world but instead operates as something closer to a painting, challenging the viewer's assumptions about what photography is capable of and what it is supposed to show. By working at this scale, the ordinary becomes genuinely otherworldly, and the camera becomes less a recording device than a tool for revelation.

The visual language of this project draws from a constellation of movements that prioritized sensation and abstraction over representation. Color field painting's expansive, unbroken fields of hue inform the way light and pigment pool across magnified crystal formations. Rayonism's interest in the dynamic intersection of light rays finds a literal counterpart in the refracted geometry captured through a lens. Tachisme and abstract expressionism contribute a gestural, almost accidental quality, honoring the organic unpredictability of crystal growth and insect anatomy as forms of natural mark-making. Modernism's broader break from the literal underwrites the entire premise, positioning this work within a lineage of art that insists on looking beyond surface appearance toward something more essential and autonomous.

The work is produced through a rigorous and deliberate process that resists any reliance on digital intervention. Crystal specimens are grown under controlled laboratory conditions, allowing for a degree of intention in how structures develop before they are ever photographed. Imaging is achieved using a high magnification tube lens in combination with microscopes, tools that demand precision and patience at every step. No digital manipulation is applied to the final images. What appears on screen or in print is exactly what the camera captured — an unaltered optical truth rendered strange by proximity. This commitment to process integrity keeps the work honest and grounds its abstraction in the physical world, even as the images themselves seem to escape it entirely.