My work begins with an action—a tear, a drilled hole, a mark—and unfolds as a conversation between process, material, and surface. Initially trained in printmaking, I work predominately with paper but also with clay, wood and metal, often pushing the boundaries of each medium beyond its traditional use. Heavy, hot-press paper can be fragile but also robust. Clay remembers touch. Wood can mimic metal; metal can mirror the delicacy of paper.

There’s a quiet equilibrium that I am chasing - a kind of stillness that holds tension, like holding two opposing forces at once, the moment when something feels like it could either fall apart or hold together. My work is physically demanding, but it’s also a way of listening to the medium, to place, to the small and invisible forces that shape the world and us along with it.