THE GREY HOUSE is a photographic construction that orbits the psychological residue of guilt. Rather than atonement – expunging disgrace through the cleansing of justice and purgatory – this is the tormenting guilt of the abyss.  The following hallucinations become an overlay of a dystopian medieval future, where a life lived in pursuit of heaven has been replaced by a life lived in defiance of hell. Liberal concepts of dystopia rely on a dichotomy between the claustrophobia of urbanity and the sanctuary of nature. However, the reality of an escape to a natural world is the genesis of isolation, and an abandonment of the urban desolation they are responsible for. Instead of finding truth and simplicity, one creates their own feedback loop of morality, identity, and social concept.

This is a castle built on a foundation of failed choice between fear and love. Here we see through the eyes of an inescapable tie to a violent, racist, homophobic, misogynist, transphobic system: a white lie of ownership and entitlement as unsustainable and treacherous. The swirling thoughts torment: “what have I done?” - “why has nobody come to save me?” - “can I be forgiven?” - “do they know my secrets?” - “why is this my fault?”.

Each question a grain of sand that both irritates the mind, and aggregates the concrete walls of justification and anger forming towards the sky.