In my photography, I explore memory, self-exploration, personal identity, and womanhood. My artistic process is tactile and experimental, often reimagining the photographic image as a layered and dynamic memory. Using both black-and-white and colour film, I employ techniques such as soft focus, layered exposures, solarization, selective dodging and burning, and alternative printmaking processes. My work often extends beyond traditional photographic practices, incorporating materials such as handmade collages and experimental printing on unconventional surfaces.

I am particularly drawn to how time and trauma shape memory, fragmenting and eroding recollections. My current practice centers on subjective memory, loss, and longing. After my father’s passing, I turned to photography as a therapeutic medium, investigating the silence and lingering presence of people and places that are no longer physically present.

In October 2024, I was honored to participate in my first artist residency, hosted by the Nordic Analog Network and VK3 Darkroom in Klitmøller. During this residency, I created three experimental projects inspired by Klitmøller and its surroundings.

The primary project is In Between Lost Worlds that focuses on subjective memory and the ways time and trauma distort our ability to remember. Through analog photography printed on silver gelatin paper, I sought to capture a longing for a place that no longer exists. The images were created using Azopan PS-21, an expired film from Romania’s communist era, a relic of my parents’ generation and the memories of a time I never lived but grew up hearing about and felt its silent, lasting effects. The aged emulsion of the film introduced unexpected textures, resulting in dreamlike images that blur the boundaries between the tangible and the imagined. As part of this project, I constructed a "disintegrated branch" by piecing together fragments of fallen bark and small branches. This assemblage became a metaphor for fragmented memories - disparate parts brought together to create an imperfect and fragile whole.

The second one, Displaced Home, reflects on the concept of uprootedness and the longing for belonging. Using fragmented images of Klitmøller’s houses, I constructed a narrative exploring memory and loss. At the center of this work were two lampshades I found, which I decorated with small prints and painted materials. A larger central print featured a circular cutout, designed so that the image appeared either whole or incomplete, depending on the viewer’s perspective.

The third project is a personal homage to my father, In remembrance. I created a house-like structure using a found box, placing at its center a sculptural hand that symbolizes the idea of reaching out. Though still a work in progress, this piece reflects themes of grief, connection, and the enduring presence of loved ones who have passed.

Through these projects, I explored the tension between rootedness and displacement, capturing a sense of belonging that feels just out of reach. The use of expired Romanian film tied the work to my family’s history, connecting past and present. The natural degradation of the film due to age introduced unexpected textures, adding layers of memory and emotion to the final images.

This residency was a transformative experience for my artistic practice. It gave me the freedom to experiment, the confidence to trust my creative instincts, and the space to let my ideas take shape in a supportive environment.