Love in Three Acts brings together a self-published photobook and a 20-minute film — a body of work that unfolds as both raw diary and a reclamation of the camera after leaving photojournalism.
What began as a private act of documentation during isolation has become a deeply personal work of visual storytelling — raw, unfiltered, and intentionally made outside of traditional publishing and industry frameworks.
The project moves across three forms: an archive of analogue stills, an experimental autobiographical film, and a photobook originally conceived as an intimate, domestic exhibition.
Together, they trace love in its many forms — maternal, romantic, creative and ultimately became a quiet, unpolished love letter to the self.
On the surface, the work follows a transition into motherhood in isolation. Beneath this, the images emerged from the inertia of quitting photography and selling off cameras— a way to redefine a fraught relationship with the medium. Strangely, Love in Three Acts was born from leaving an established creative identity — and the search for something beyond it.
The Book Made from scanned images and rough notes, the photobook carries a tactile, handmade quality. Its physical form mirrors its raw and hazy themes of memory, identity, womanhood, and mental health — fragmented, immediate, and intimate.
The Film A 20-minute autobiographical film created during the COVID lockdowns, weaving together analogue photographs, self-portraits, and moving image. It reflects on motherhood, mental health, and the oscillation between humour and heartbreak.
The Exhibition Originally presented as a salon-style, in-home experience, the work extends into a shared space — combining photography, moving image, sound, and a self-portrait invitation. It brings together private experience and collective presence.
Together, these forms move from tactile archive (book), to emotional portrait (film), to participatory space (exhibition) At its core, Love in Three Acts is an offering of a private world, now shared.