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2018”N3ŒŽ uThings piled upvaŒû„•’·’Jì‘€“ñl“WgSurroundingh ‚ï‚¢‚¶‚¤
2017”N3ŒŽ u‚‚ނ‚­‚­‚ށiÏ‚Þ’z‚­‘g‚ށjvaŒû„•’·’Jì‘€“ñl“WgReconstructionh ‚ï‚¢‚¶‚¤
2016”N3ŒŽ uwinter gardensvaŒû„•’·’Jì‘€“ñl“WgStrangers in a boxh ‚ï‚¢‚¶‚¤

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2021”N9ŒŽ—\’è u“‰‚Þ‘¸‚Þ‰ù‚©‚µ‚ށv—é–؎ʐ^H–[WSƒOƒ‹[ƒv“WgMonochromeSessions 2021h
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2020”N9ŒŽ umeir: multiple exposures of images of religionsv—é–؎ʐ^H–[WSƒOƒ‹[ƒv“W
@@@@@@@gMonochrome Sessions 2020h@¢“c’J”üpŠÙ
2019”N9ŒŽ ustonesv—é–؎ʐ^H–[WSƒOƒ‹[ƒv“WgMonochrome Sessions 2019h@¢“c’J”üpŠÙ
2018”N10ŒŽu¬‚´‚é˜A‚È‚éd‚È‚évBlow-upƒOƒ‹[ƒv“WgBeginh@a’Jƒ‹ƒfƒR
2018”N9ŒŽ uME: multiple exposuresv—é–؎ʐ^H–[WSƒOƒ‹[ƒv“WgMonochrome@Sessions 2018h
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2017”N8ŒŽ uØ‚é’¤‚éí‚év“n•”‚³‚Æ‚é2B OB/OG“W@a’Jƒ‹ƒfƒR
2015”N3ŒŽ uarrhythmicv“n•”‚³‚Æ‚é2B OB/OG“W@a’Jƒ‹ƒfƒR
2014”N3ŒŽ urhythmic patternsv“n•”‚³‚Æ‚é2B 42/43ŠúC—¹“W@a’Jƒ‹ƒfƒR

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