An Agreement with the Object

My visual language developed through design rather than narrative image-making. Early influences came from interwar modernism, where geometry, sharp colour, and constructed order were used with clarity and confidence. Typography and graphic systems trained my attention on parallel lines, spatial rhythm, and the authority of form.

Equally influential was the experimental design culture of the 1960s, where shape, proportion, and colour were pushed to extremes. In that period, visual systems were deliberately distorted, stretched, and tested, creating environments that felt futuristic, unstable, and unresolved.

This photograph brings those influences together. Clean verticals, hard planes, and saturated colours establish a designed space governed by structure. Against this, the human body appears as a different kind of geometry — irregular, organic, and materially present. The contrast is not symbolic or narrative, but formal.

The work is concerned with how these anomalies coexist: engineered order alongside human complexity. Rather than seeking harmony or opposition, the image allows both systems to remain visible, occupying the same frame under shared conditions.