I seek the often unheard voices in every project.

Photography is more than just making images—it’s a way to connect, to listen, and to tell stories that matter.

With a background in architectural photography and MA training in documentary practice, I combine clean visuals with deep sensitivity to storytelling.

My work uses photography as a tool to surface what often remains unspoken and to reveal hidden contexts.

I approach every story with care—whether it’s a brand, campaign, or grassroots project.

Collaborating with other creatives, I craft honest, layered content designed for meaningful social engagement.

  • Debris and broken concrete blocks on a grassy field with palm trees, hills, and mountains in the background.

    Learning to Listen

    I approach each project with care for what lies beneath: silenced histories, fractured places, and resilient roots.

    Can we find hope in learning to witness what is quietly emerging?

  • Two women hugging each other warmly with emotional expressions.

    Holding What Hurts

    Through collaborative projects, I explore how trauma—historical, inherited, and lived—moves through bodies, cities, and collective memory.

    Image-making becomes a therapeutic tool holding space for what aches, for what connects, and for what needs to be witnessed.

  • Close-up of tangled plant roots and green, reddish-brown leaves of a plant.

    we are entangled

    Human and more-than-human lives are layered and inseparable—shaped by shared histories, invisible threads, and overlapping stories.

    I begin in these entanglements, tracing what binds us beneath the surface.

some featured projects

A Succulent Affair
District Six
I am making a picture
Gas From Trash
Girls Make The City
ST JAMES PICCADILLY

A Succulent Affair

District Six

I am making a picture

Gas From Trash

Girls Make The City

ST JAMES PICCADILLY
A landfill with scattered trash, seagulls flying and perched on the piles, and a bulldozer in the background.

The Silenced Voices

While photographing for News24, I witnessed unexpected life thriving amid human waste. Pelicans have made this landfill their home, drawn by abundant food, while coastal plants push stubbornly through the trash. Surrounded by a protected marine reserve, this place reveals nature’s quiet resilience—refusing to be silenced, even in the harshest spaces. This experience deepened my understanding of adaptation and survival.

Unearthing the roots — examining the colonial legacies of botanical extraction, plant ownership, and narrative control.

This project confronts the trauma inflicted on plants through colonial botany, revealing how they’ve been displaced, exploited, and forced to adapt.

By witnessing their resilience, we reflect on our own role in this harm and explore how learning from the more-than-human world might guide our own healing..

A mummified bird with a paper label attached, lying on a beige surface.

A succulent affair - part 1

photographed at Kew Gardens, London

in collaboration with Kew Gardens

Close-up of slightly disorganized paper files and documents, including some with torn or wrinkled pages.
Close-up of a dried pineapple peel with the handwritten label 'A. fruitcans' taped to it.
Close-up of a dried flower with elongated, narrow petals radiating from a central point, featuring small seeds or pollen on the center.
A large glass greenhouse with a curved roof, silhouetted against a cloudy sky during sunset or sunrise, with trees in the background.
A large cactus growing in a desert with sand ripples and small rocks.
Close-up of soil with small green plants and dirt particles.
Close-up of a tall, green cactus with long, sharp, white spines.

girls make the city


Being brought onto the WeTopia project as a documentary maker and photo facilitator has been one of my highlights.

GIRLS MAKE THE CITY is a Wetopia Project with a regenerative development approach, executed under the custodianship of Open Design Afrika and in collaboration with other Wetopian partners in Cape Town.

in collaboration with

A black surface with peeling clear adhesive tape, revealing a faded photo underneath of a dog sitting on grass.

District six

This project traces not only what remains physically, but also what endures emotionally: stories etched into the broken bricks, grief embedded in concrete, grass growing over old streets, weeds pushing through cracks where walls once stood.

Saplings root themselves in silence, drawing sustenance from soil steeped in memory.

This work is a collaboration with those who return—not to reclaim, but to remember. To map out memory against a shifting landscape, and to ask what it means for land to hold loss, and still grow.

A medium-sized rock with a dark star-like shadow on its surface, surrounded by dry grass and red soil.

Here in the former District six, land is not empty — it is absorbing.

Holding what was taken, in ecology, rubble, and story.

Scenic view of a grassy field with broken concrete pieces in the foreground, palm trees on the left, and a mountain range in the background under a clear blue sky.
A black-and-white photo of a mature man with gray hair and beard, standing outdoors with mountain scenery in the background.

a story of loss, erasure, and the complexity of return.

Young man wearing sunglasses, a baseball cap tilted on the side, a gold cross necklace, a silver bracelet, holding a Canon camera, standing indoors near large windows.

I am making a picture

I Am Making a Picture is a year-long, cross-cultural photography project connecting young people from two vastly different contexts: a rural village in northern Germany and an inner-city community in Cape Town, South Africa. Through workshops, dialogue, and collaborative image-making, students aged 16–18, from both schools, explored questions of identity, representation, and the colonial gaze.