I work from photographs, screenshots, and other forms of documentation that hold traces of time: a wilting bouquet, a family photograph, a place that now exists only through fragments and residual records. These images become the starting point for drawings, paintings, and prints. I am interested in how meaning shifts as an image moves between digital and physical form, where what seems fixed begins to loosen and open into uncertainty, reinterpretation, and change.
My process is slow and materially grounded, built through repetition, accumulation, and erasure. The fragility of mark-making in each work reflects how perception itself is shaped, how small impressions accumulate into larger understandings, and how easily those notions shift. Rather than reproducing an image, I work through a gradual unfolding in which the image becomes an accumulation of traces, revisions, and interruptions.
My work sits between documentation and reconstruction, where fragments carry partial histories rather than fixed meanings. I am interested in how images remain open through distance and imagination, and how seeing is always shaped by what is remembered, what is missing, and what is altered in the act of looking.