My practice is rooted in a sustained physical engagement with materiality and its capacity for continual transformation, alongside an exploration of the immaterial realms of sensation, perception, and ideas. While my work seeks to generate an aesthetic encounter that invites the viewer to navigate their own sensibility, it often speaks less to a resolved object than to the conditions and processes of its making.
The creative process—the journey rather than the outcome—operates as a central framework within my practice. I am particularly interested in the moments of critical and creative thought that arise through making, where intuition, reflection, and material resistance converge. The workflow unfolds as a harmonic symbiosis between material experimentation and the haptic, embodied intelligence of the body, allowing form, meaning, and affect to co-evolve.
Through research and studio practice, multilayered images and material configurations emerge that question the instability and constructed nature of reality. I am engaged with temporality, ephemerality, and the agency of materials, investigating how time inscribes itself onto matter through processes of erosion, transformation, and decay. Decay, in this context, is not understood as deterioration or obsolescence, but as a generative state—a becoming—where new forms arise through the remnants of what preceded them.
My interest in archaeology extends this inquiry. Art and archaeology share a methodological and conceptual affinity: both operate through acts of excavation, layering, and interpretation within the material world. This overlap prompts questions regarding the relevance of contemporary artistic practice to the contemplation of human history and material memory. I am drawn to the speculative space in which these disciplines intersect—where fragments, traces, and residues activate dialogues between past and present, presence and absence.
“ Visible and mobile, my body is a thing among things; it is one of them. It is caught in the fabric of the world, and its cohesion is that of a thing. But because it sees and moves itself, it holds things in a circle around itself. Things are an annexe or prolongation of my body; they are incrusted in its flesh, they are part of its full definition; the world is made of the very stuff of the body. These reversals, these antinomies, are different ways of saying that vision is caught or is made in the middle of things, where something visible undertakes to see, becomes visible for itself and through the vision of all things, where the indivision of the sensing and the sensed persists, like the original fluid within the crystal.”
― Maurice Merleau-Ponty