This photo was taken from within the Menin Gate, a memorial dedicated to more than 54,000 soldiers of the Commonwealth forces who died in the Ypres Salient and whose graves are unknown. 

Looking through the monumental arch, the street leads to the centre of Ypres, with the towers of the Cloth Hall visible in the distance. What seems to be a historic city center is, in fact, mostly reconstructed. During WWI, Ypres was almost entirely destroyed by artillery, leaving only ruins. In subsequent decades, the city was carefully rebuilt, replicating its original medieval layout and architecture. 

The geometry of the vaulted ceiling frames the city beyond, while the small figures inside the gate provide a sense of scale to the monument.

Two quiet moments in places of transit.

Both images were photographed recently in Belgium’s metro and railway network. Platforms are places of movement, yet they also contain brief pauses — small moments where people wait before the next train arrives.

The first image was taken in the Antwerp metro. A strip of overhead light separates the traveler from the dark tunnel wall while the vapor of her breath drifts into the empty space of the station.
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The second image was photographed early in the morning at Gent-Sint-Pieters station. Backlit by the illuminated platform sign “5A”, a traveler appears as a silhouette, absorbed in her phone while waiting for the next departure.

Like many large cities, Rotterdam rarely sees a stop in movement. Markets, cafés, and streets are filled with people immersed in their routines. These two images highlight fleeting moments amidst that perpetual flow.

At the Markthal, a passerby briefly notices the camera. In the midst of the busy market, there's a brief eye contact before he moves on.

At a nearby café, another scene plays out. A young man works silently on his laptop while reflections from the street dance across the window. Such scenes have become so common in urban settings that cafés often serve as temporary workspaces.

​This photograph was taken at the Fenix Museum in Rotterdam. Normally, I try to avoid photographing photographs in museums. Most of the time, it feels too easy and rarely adds anything new.

Here, however, several elements came together. The large image on the wall shows a well-known photograph by Raghubir Singh, taken at an Indian railway station in the late 1970s. In the photograph, a man calmly reads a newspaper while crowds move around him. At the same moment, a visitor in the museum stood in front of the image, reading the museum brochure. Behind the photograph, another visitor happened to walk past, and for a brief moment, his legs aligned almost perfectly with the man reading the newspaper in the photograph. That small coincidence between the historic image and the moment unfolding in front of it is what made the scene interesting to photograph.

These photos were taken at the Zayed National Museum. Instead of capturing the building as a whole, this series focuses on experiencing the architecture from the inside.

The museum's structure is defined by curved ribs and layered surfaces that guide movement through the space. As the sun moves across the building, light filters in from different angles, casting strong contrasts between bright surfaces and deep shadows.

Using black and white photography helped me emphasize the core elements: form, rhythm, and spatial relationships. Without color, attention shifts to how repetition, curvature, and light interact.
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Together, the images show fragments of the building — passages, surfaces, and openings — illustrating how contemporary architecture can be appreciated through its geometry, light, and movement rather than a single, comprehensive view.

These three photographs were taken at the Zayed National Museum in Abu Dhabi. Rather than showing the building as a whole, I focused on how its roof structures form almost abstract compositions depending on the viewpoint.
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​All images are presented in black and white to emphasise form, rhythm, and contrast, keeping the attention on the lines and structure of the architecture.

These photographs were taken during a walk along the Belgian coast between Middelkerke and Ostend.
Moving along the beach and the coastal infrastructure, I focused on how light, structure, and scale define this stretch of shoreline — from the tram line running along the dunes, to the open tidal flats and the artworks that appear along the beach.
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The images were made during my first outings with the Leica Q3 Monochrome. Its dedicated monochrome sensor renders subtle tonal transitions particularly well in situations with bright skies, reflective water, and deep shadows, allowing the coastal landscape to be described through structure and tone rather than colour.

These photographs were taken during a walk along the Belgian coast between Middelkerke and Ostend on a winter afternoon.


Along this stretch of shoreline, the coastal tram line runs parallel to the beach while aircraft approach Ostend–Bruges International Airport. At low tide, groynes and tidal flats become visible, revealing the geometric structures that shape the coastline.
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One of the images also shows "Pillage of the Sea " by Rosa Barba, a public art installation on the beach in Ostend, consisting of stacked concrete forms that reference sandbags used in coastal protection.