El Salvador's artistic heritage is largely invisible in Australia. Most people here don't know much about the country at all, let alone its craft traditions. I wanted to document something that felt both deeply personal and genuinely worth preserving: a collection that exists in my family home, full of objects that are irreplaceable, and give it the presentation it deserved.

The challenge was creative and editorial: how do you photograph (specially, learning on the fly to use a DLSR to do so) objects that carry emotional weight and make them feel as significant on the page as they do in person? And how do you shape 75 pages into something that reads as a cohesive publication, not just a catalogue?

I handled everything: concept, photography, art direction, layout, and print production. The photography was about letting the objects speak: close, considered, lit to bring out the texture and craft of each piece rather than stylising them. The editorial design kept things clean and intentional, giving each artefact space to breathe.

The result is a publication that lives somewhere between a photobook, an archive, and a love letter to a culture that doesn't get enough visibility.

• Full concept, photography, and art direction

• 75 page editorial layout and publication design

• Print production (physical copies printed and distributed)

• Copies sent to family in El Salvador (priceless)

The book was warmly received by peers here in Australia who had little to no prior knowledge of El Salvador, and by family back home who were genuinely moved to see the collection documented this way. For me, it also opened up a whole side of design I hadn't explored before: long-form editorial, publication layout, and photography as storytelling.

I've since travelled back to El Salvador and gathered more pieces: So a second edition is in the works, and a Spanish version is something I'd love to do.