My work sits between documentation and reconstruction, and I am interested in the image not as a record of what was, but as evidence of how the past is repeatedly reimagined. Working from photographs, screenshots, and other forms of documentation that hold traces of time, I begin with images such as a wilting bouquet, a family photograph, or a place that now exists only through fragments and residual records. These source materials become the starting point for drawings, paintings, and prints that explore how seeing is shaped by memory and by what remains beyond view.
My process is slow and materially grounded, unfolding through accumulation and erasure. The fragility of mark-making reflects the instability of perception itself, revealing how understanding is formed through incomplete information and personal association. Rather than reproducing a source image, I work through a gradual process of translation in which the familiar becomes uncertain. Recognition and estrangement remain in tension, allowing the work to inhabit a space where meaning is never fixed and the image continues to shift in relation to the viewer.