Once the aesthetic language had settled into a distinct form, I began to interrogate the ontological difference between a simple portrait and a self-portrait: I did so by adding the element of the other through a mirror, dismantling the staple features of the prior portraits until nothing but their shadow was left to take up their place, and drawing on an increasingly self-referencing lexicon of signs and gestures.

My research into the representation of the self continues along aesthetic and philosophical lines, in parallel with the rest of my practice.