Why I Put Myself Into My Art | Visual Storytelling Through Self-Installation

 In every photo I take, there’s more than meets the eye. The shadows, the symmetry, the stark lines of concrete and glass—they all tell a story. But look closer, and you’ll find something more intimate: me.

Why I Put Myself Into My Art | Visual Storytelling Through Self-Installation

This isn’t just photography. It’s self-installation—an intentional decision to place myself within the world I’m capturing. Not as a subject, but as a presence. A ghost woven into the architecture. A human silhouette carved into the urban sprawl.

I started doing this not for aesthetic, but for emotion. I needed a way to feel my work. To own it. To live inside it. By placing myself into each frame, I anchor memory. I embody the moment. I become part of the story, not just the storyteller.

Urban textures—concrete, steel, brick—reflect the chaos and stillness within me. Architectural symmetry becomes the metaphor for my search for balance. And the negative space? That’s where silence speaks. That’s where emotion lingers.

This process is deeply personal. It’s about identity. Vulnerability. Presence. When I look back at these images, I don’t just see a building or a city street—I see who I was at that exact point in time. My posture, my position, even the space I leave between myself and the world—it's all deliberate. It’s all a reflection.

Art is not just what we see. It’s what we feel. It’s what we embed. My work preserves pieces of my humanity. These aren’t just photographs—they’re emotional landscapes. They’re time capsules of who I was, what I felt, and where I stood—literally and metaphorically.

So, when you scroll through my visuals, know this: you're not just witnessing a scene. You're stepping into my inner world. You're seeing the city, yes—but you’re also seeing me.