Ruisseau (holocene), 2018,  68,14 x 101,6 cm (26,8 x 40 in) Streams, of sand, stone, and water. Symbolic metaphors for the current time in which we live, forms emerge from visual abstractions from the Lofoten islands of Norway.

Incarner des roses, 2016, images. Incarner des roses means to embody the roses. The form of the rose identified for its beauty and symbolised as the process of life, as opening up to a final meeting of the current of life. For as an entry into a stream, can never return without having been bathed, or carried onward. To embody the rose, is to be done what is done and what cannot be undone. The artwork was made by a story of an evening of a mistaken gift, a bunch of roses presented without a specific recipient. Having denied the gift for its lack of direction, the roses were taken to the stream and photographed, developed and processed to highlight the undulating forms of returning an object to the flow.

Everywhichway, 2015. Triple exposure images merge three subjects chosen for their symbolic and material properties: roses, water, and a third subject as a variable. A portrayal of the potential for a single image to represent the multitude of layers in a lived experience, make visible the cacophony of detail available prior to the event settling and being replayed as a (memory) story. Screen memories are described in Freudian psychology as a filter which blocks early childhood memories. Using the surface quality of an image, interpreted as a screen as a reflective surface where all experiences are present, moving, and rising. A question of depth in memory recall, misunderstanding and reforming time offers viewers a look into a personal interpretation of narrative.