Roxy’s WorkSpace    Information    Contact 
       

Photograph Work Gallery





















01. Bloom 3 (2022)
Bloom (Series 3) continues my meditation on death as a slow, inevitable passage rather than a sudden rupture. In this sequence, a cluster of chrysanthemums is placed at the shoreline and gradually carried outward—first resting heavily on wet sand, then loosening as waves pull at the stems, until it becomes a small, drifting trace on open water. The images move like chapters of a quiet farewell: what begins as vivid color and weight is steadily thinned by tide and time, turning remembrance into distance. Referencing the Day of the Dead’s tenderness toward mortality, Bloom (Series 3) treats the sea as both boundary and release—an element that receives what we cannot hold, transforms it, and returns it to a larger cycle. The story is simple, almost ritualistic: I leave the flowers, the water answers, and the act becomes a way to practice acceptance—admiring a culture that meets death with clarity, and inviting viewers to feel that letting go can be gentle.






















02. Bloom 1 (2022)
 


Description 

Bloom (Series 1) is a printed photography series installed at Cedar Ridge Creative Centre (Toronto, 2022). Inspired by the Mexican Day of the Dead, the work reflects on death not as a rupture, but as a gradual transformation—an inevitable passage that can be met with clarity rather than fear.

Across three scaled scenes composed with water and chrysanthemums, Bloom traces a movement from vividness to silence. The chrysanthemum—often associated with mourning and remembrance—appears here in stages: full-bodied and saturated, then loosening, thinning, and dispersing. Petals break away and drift across a dark ground like fragments of time, while water acts as both mirror and threshold, suggesting cleansing, return, and continuity. The photographs emphasize contrast—lush color against void, presence against absence—to hold the viewer in the tension between beauty and loss.

Rather than dramatizing death, Bloom focuses on its texture: the slow unraveling of form, the quiet rituals of letting go, and the intimacy of change that happens almost invisibly. By framing decay as a kind of blooming in reverse—still graceful, still luminous—the series invites viewers to consider how acceptance can coexist with grief, and how remembrance can be an act of admiration rather than anxiety. In dialogue with the Day of the Dead’s celebration of mortality, Bloom offers a contemplative space to recognize death as part of life’s cycle—and to honor the cultural perspective that meets it with openness and respect.










Exhibition


Installed: Cedar Ridge Creative Centre, Toronto (2022
Medium: Printed Photography












03. Bloom 2 (2022)




























Description




Bloom (Series 2) shifts the Bloom narrative inward, staging death not as a distant horizon but as something encountered up close—within a contained, domestic body of water. A bouquet of chrysanthemums drifts through turquoise ripples, alternately buoyant and snagged, as if searching for a place to rest. In one frame my hand enters the water to release the stems, turning the sequence into a small ritual: an offering, a goodbye, and a practice of letting go. The pool’s tiled edge introduces a quiet contradiction—nature held inside architecture—echoing how we try to manage loss through boundaries, ceremonies, and control. Yet the flowers still move on their own, carried by currents that cannot be commanded. Connected to the Day of the Dead’s respectful intimacy with mortality, Bloom (Series 2) treats water as both cradle and threshold: it holds what is living for a moment, then gently rearranges it, reminding us that acceptance is not a single decision but a repeated gesture—release after release, until fear softens into clarity.

























04. Folding Realities (2024)


Description



Folding Realities is a printed photography and mixed-media work that confronts environmental pollution through the physical manipulation of photographic images. Using folding and overlapping techniques, the piece merges serene landscapes—forests, oceans, and open skies—into a fragmented visual field where natural beauty is interrupted by signs of contamination. This constructed tension makes visible the gap between what nature appears to be and what human activity has made it become.

By turning photography into an object that can be creased, layered, and reconfigured, Folding Realities emphasizes depth and complexity while operating as a visual metaphor for ecological entanglement. The folds function like fault lines: they compress time, collapse distance, and reveal how environmental damage is not separate from daily life, but embedded within it. The work stages pollution as something that cannot be neatly isolated—only confronted.

As both image and intervention, Folding Realities calls for awareness and change. It advocates for protecting the environment’s purity against ongoing degradation, and invites viewers to reconsider nature’s vulnerability—not as an abstract concept, but as a reality shaped by human 
decisions and responsibilities.







Award


2025 Toronto Image Works Photography Award, Awarded for Folding Realities (Printed Photography / Mixed Media).














05. All Eyes on You (2023)

Description



All Eyes on You is a digital collage that visualizes contemporary surveillance as a social atmosphere—ambient, normalized, and difficult to escape. By isolating eyes, mouths, and ears into floating fragments, the work constructs a field of observation where looking, listening, and capturing become constant background conditions rather than exceptional events. The viewer is surrounded by sensing organs without bodies, suggesting a system that monitors without accountability.

The composition points to how surveillance is produced through both policy and consumer technology. Regulations framed as security, risk management, or efficiency expand the reach of institutional monitoring—across borders, public space, schools, and workplaces. At the same time, everyday products—phones, apps, cameras, platforms, and “smart” devices—translate intimate routines into data: what we watch, where we go, who we speak to, what we search, and how we present ourselves. The work emphasizes how consent is often procedural rather than meaningful: monitoring arrives through terms of service, default settings, and infrastructures that feel unavoidable.

A small figure drifting in open water appears as a counterpoint to the crowded sensory field—a fragile image of privacy, distance, or imagined freedom. Yet even this quiet space is framed by the possibility of being seen. All Eyes on You asks what it means to live under constant observation, and how surveillance reshapes behavior into performance: self-censorship, self-branding, and the internalization of the watcher. The work ultimately questions whether privacy is still a right, or increasingly a luxury distributed by power.