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This website is an unfolding archive of my practice, a place where my work collects, changes, drifts, overlaps, and stays in conversation with itself. Seen together, the pieces form shifting relationships, sometimes connected by time and sometimes simply by proximity, by the quiet ways materials and forms begin to speak to one another. The archive traces the movement of my studio over the past twenty-seven years: from an early body of work grounded in family snapshots (1999–2018) to a more recent immersion in vintage needlepoint, painting, printmaking, and experiments with process, surface, and resin-based assemblage (2018–present), a period that also includes collaborations and side projects with fashion houses, as well as a long-standing, hands-on engagement with leather craft. While the materials and forms have changed, certain concerns persist. I have long resisted surface when it functions as a form of erasure, approaching it instead as a threshold, something to be entered, stressed, altered, and pushed into depth, relief, or volume, where labor, duration, and material pressure remain visible. Many of the materials I work with arrive already marked by prior use; engaging them becomes a dialogue across time with unknown makers, attentive to the decisions, errors, and gestures they left behind. I find myself returning again and again to a set of recurring questions: how images transform through time; how surfaces, grids, repetition, and reproduction operate; how value and labor are assigned; and how inherited, often undervalued craft traditions might be re-read and re-coded. These questions take form through hands-on processes—repetition, alteration, deconstruction, reconstruction, and translation—and through the specific tools, materials, and techniques I work with, each bringing its own logic and resistance into the studio.