Over the course of human history the expansion of the urban metropolis has continued to grow. As a mathematician and an artist, I have always been fascinated by this growth and by the geometric collection of curves, lines, patterns and abstract designs found in urban architectural forms and the shadows that they cast. The way these shapes come together essentially makes up the world around us, but more often than not they tend to go unnoticed or have become so engrained in people’s lives that they are overlooked. What is interesting is that we often become part of these patterns as our shadows join with others to create living compositions.

The places and objects that I chose to photograph are familiar—doors, airports, in the home, on the street, in hotels—I aim to flatten out these spaces so that the focus is directed toward the shapes and forms rather than on the things being photographed. The interaction between people, the landscape, and these urban environments is, for me, what makes these photographs interesting. The enlarged scale of the geometric patterns in my photographs is intentional; I want these forms to gain an importance in the space that they may not have otherwise had. I want these forms to be the first aspect of these photographs that viewers are drawn to. But even with geometry as the focus, the lines and the forms are meant to lead the eye of the viewer to more familiar territory—such as landscape and other humans—thus ultimately grounding the images in a sense of humanity that I think people often long for in urban photography.