Statement

My practice explores image-making as a process of construction rather than representation. Working across painting, printmaking, and installation, I develop works through fragmentation, layering, and reassembly, drawing on archives, memory, and site.

I am interested in how images operate as unstable structures, formed through traces, absences, and partial histories. Rather than depicting fixed scenes, the work constructs spaces in which figures, environments, and narratives emerge and dissolve. This marks a shift from observation towards construction, where images are assembled, disrupted, and reconfigured.

The work engages with fictioning as both method and framework, treating art as a form of world-making. It seeks to reconfigure how history and place are encountered, using material processes to test how narratives can be altered, displaced, or reimagined. Printmaking, particularly etching, has been central in shaping this language, introducing abrasion, residue, and repetition as strategies that extend into painting.

Practice operates as an iterative loop between making and reflection, where each work functions as a test, an attempt to shift how an image, a place, or a memory can be read.