I am a street photographer. I shoot mannequins in store windows, concentrating on the reflections I see in the glass.

These images include not just the dolls, but also the architecture and the scene on the street. They are not set up, they are not double exposures, and I have not manipulated them in Photoshop. They are exactly what I saw through my lens at that particular moment.

I see several layers when I look into a window. The buildings that are reflected create their own graphic effect, which then interacts with the fashion of the mannequin, the nature of the display, and the activity on the street — all of which together create a decidedly cinematic feeling.

Combining these various and random elements makes each image not only the sum of its parts, but something entirely separate: a new narrative that is created by fusing the inside and the outside. This layering transports us to another space entirely — one in which relationships are exposed and rewritten, and the distinction between real and unreal is blurred.

I am often surprised by what I discover in the image long after the actual shooting experience. There is a narrative element that reveals itself, and a whole other world is exposed through the layers that merge and emerge.