Set in New York between 2014 and 2017, Face'less envisions a near-future city where identity has become a contested visual territory. The series begins with a counter-cultural act: an unknown group of civilians develops a wearable micro-device — the size of a pin — that projects a digital overlay onto the face, rendering the wearer anonymous to surveillance systems and cameras alike.

What begins as an act of resistance transforms into its opposite. Corporations commodify the technology; governments repurpose it as a tracking mechanism more efficient than anything that preceded it. The series documents what it calls "the golden years" — the brief window before commodification, when the mask was still used as pure poetic expression, a temporary reclamation of the face as private territory.

The work sits at the intersection of documentary photography and speculative fiction: part portrait series, part invented archive. Shot on the streets of Brooklyn and Manhattan, the images adopt the visual grammar of photojournalism while narrating an event that never happened. In doing so, Face'less raises questions that are entirely real: Who owns the image of a face? What does it mean to be seen in an age of machine vision? And what do we lose when anonymity becomes a product?

The project was exhibited at Aqua Art Miami (2016) with Space 776, and at the Affordable Art Fair, New York (2016).