Practice statement

Artist Statement

I work with fragile and resilient materials, recycled newspapers, wood, debris, to explore what we carry, what we lose, and what remains. My works are built, scratched, broken, reassembled. They are not decorations, but emotional surfaces: holding tension between beauty and collapse.

I’m interested in what fades. I use colour not just for its appearance, but for its emotional weight - as a way to record something felt. My wall objects and abstract sculptures function like memories: imperfect, layered, sometimes soft, sometimes violent.

These pieces may look delicate, but they come from a place of urgency, marks are driven by instinct, a kind of emotional necessity. The textures often feel like skin, like wounds, like ecstasy.

My art doesn’t offer conclusions. It invites a pause, a gut reaction, a trace of recognition. In everything I make, I’m searching for something raw and human - something that speaks without needing to explain.

Old version

I work with materials that carry weight - wood, newspapers, debris - things that have a history, things that break. I scratch words into wood, carve them out like wounds, like messages that demand to be seen. The words are few, and they are not explanations, just directions- fragments of feeling, hints of a larger story. Milk. Honey. Patriot; God. Spirit. Daughter; Expensive. Rich. Drunk… They hit like a punch or dissolve like smoke.

I don’t want my work to just sit there, looking polished and resolved. I want it to press against the viewer, to shake them. My process is immediate, intuitive, driven by gut feeling - something raw and bodily. It’s about tension: between structure and collapse, between the personal and the collective, between permanence and the fleeting moment.

Newspapers dissolve, wood splinters, colours fade. Everything feels temporary, but that’s what makes it real.

 Like Dostoyevsky, I want to grab the soul, shake it, and give it back - changed.