My practice is grounded in physical, process-based experimentation. I work directly with my body, materials, and environment, allowing ideas to emerge through action rather than pre-determined outcomes. Movement, repetition, and embodied gestures form the starting point of my research, and I use performance, photography, video, and sculptural processes to trace how the body interacts with the world around it. I am particularly interested in how materials carry emotional or sensory charge—how fabric, light, shadow, text, and found objects can hold memory, tension, or transformation. By cutting, sewing, assembling, projecting, or manipulating these materials, I explore how lived experience becomes visible through its physical marks and residues. The process itself becomes a form of thinking: meanings surface gradually through making, testing, failing, and reworking.

Across all media, my work aims to translate emotional and psychological experiences into tangible visual forms. I am drawn to processes that reveal instability, change, and the traces left behind by touch, movement, and time. Rather than presenting polished resolutions, my practice embraces the messy, imperfect, and transformative qualities of making. Ultimately, my strategy is iterative and exploratory. Each experiment leads to the next, shaped by curiosity, reflection, and a willingness to let materials guide the work. Through this approach, I seek to create spaces where the physical and the emotional meet—and where the act of making becomes a means of understanding.