My films begin from the conviction that different realities require different cinematic forms. Working at the intersection of structural cinema, essay film, and documentary, I use cinema not to represent the world but to construct encounters with realities that exceed ordinary human perception. Scientific, geological, cosmological, historical, and psychological phenomena place pressure on inherited cinematic languages, requiring each film to discover its own form. If power increasingly operates through invisible, distributed, and difficult-to-perceive systems, then we cannot rely solely on disclosure or information. The problem today is less a lack of information than a crisis of perception. I construct cinematic forms that make attention itself one of the film's primary materials, inviting viewers to become aware of their own processes of perception.

Each film begins with a place: a lens factory, Biosphere 2, a radio observatory, Mars and Moon analog research site, the unconscious, the Australian Outback. These are not backdrops but active collaborators whose material, historical, and perceptual conditions determine the structure of the work. Rather than arriving with a predetermined script, I spend time moving through these environments before filming, allowing the experience of the site to shape the movement of the camera, the length of a shot, the relationship between text, image, and sound, and the rhythm of the film itself.

My films are experienced through the body. First-person movement, duration, attention, breathing, and listening become cinematic tools through which realities beyond ordinary perception can be encountered rather than merely represented. The body is not simply the subject of perception but the means through which the films unfold.