Daily Life Rhythm #4 - Limited Edition of 10 Print

At the intersection of sound and vision, Greg's artistic journey began in the realm of music and audio-visual engineering before life's unexpected turns guided him toward photography. When tinnitus silenced one creative path, another opened—revealing how limitations often become the birthplace of new artistic languages. Working primarily in black and white—whether through the chemical poetry of film or the precision of a dedicated monochrome camera—Greg distills the world to its essential contrasts and textures. His work spans intimate portraiture and architectural studies, with a growing interest in the dialogue between human presence and constructed space. The occasional landscape serves as a counterpoint, revealing a sensibility that finds rhythm in both human-made and natural environments. His visual aesthetic bears the thoughtful influence of masters like Michael Kenna and Fan Ho, whose meditative compositions and masterful use of negative space resonate throughout his work. The storytelling power of Sebastiao Salgado, the poetic street scenes of Saul Leiter, and the raw humanity captured by Josef Koudelka have all shaped his photographic voice. Having traversed cultural landscapes as diverse as his visual ones—born in Poland, matured in London, and now rooted in Japan—Greg's perspective carries the subtle imprint of East-meets-West sensibilities. The structured elegance of Japanese aesthetics converges with European documentary traditions in work that feels both timeless and deeply contemporary. For Greg, photography is not merely documentation but invitation—to pause, to feel, to venture into emotional territories previously unmapped. Each image offers a moment of contemplation, a visual silence that, ironically, speaks volumes in a world increasingly defined by noise. After developing a substantial body of work through years of focused practice, Greg now seeks to contribute to the broader artistic community, sharing insights gained from crossing both disciplinary and cultural boundaries. This commitment to artistic exchange reflects his belief that photography, like music before it, exists not in isolation but in relationship—between creator, viewer, and the spaces between.