Multiple Exposures

The multiple exposures began around 2018, when a single frame no longer seemed enough for the way Berlin buildings occupy time. Facades, courtyards and interiors are exposed more than once in the camera, not assembled later on a computer.

I work slowly, often returning to the same places. The overlay is a way of looking, not an effect: memory, simultaneity, the thickness of a street that has been rebuilt and still shows its earlier lives.

I am interested in architecture as something perceived, not merely documented — how space becomes ambiguous when two moments share one negative.