Prelude emerged during a quiet, complicated moment—watching sunlight fall across my hands and seeing the skewed shadows cast on my wall. The light was fleeting, and I felt an urgency to photograph it before it disappeared. I took two photographs: one of my hands shaped like a bird and another of the shadow they cast. As the light passed, I realized that photographing this brief experience—and the ephemeral feeling it created—couldn't be fully contained in a single frame.

Each sequence in the series is composed of two to three photographs. The work draws on the visual language of cinematic storyboards, which pre-visualize and shape narrative. This structure allows the images to function individually and collectively. Sequencing still images side by side breaks the illusion of motion—like in a flip book—and instead invites viewers to pause in the space between frames, to confront the familiarity and weight of small, embodied gestures. This approach contextualizes the elusive “moment” photographers often seek: not as a singular instant but as something shaped by time.

Prelude became a way to reset—to dissect how I think about photography, time, movement, and the significance we place on the singular image. In returning to this mode of image-making, I also return to where my practice began: in my bedroom, photographing my own existence.