In my work, I merge elements of painting, collage, and drawing with embroidery, crafting a layered visual palimpsest where past approaches and current abstractions coexist. Techniques and motifs from earlier practices resurface in accumulated forms, with embroidery adding tactile depth and dimension to the compositions. The hand and the importance of process are central; each cut, stitch, brushstroke, and drawn line is a deliberate act of labor, a tangible record of time spent in making. The work develops through acts of constructing, undoing, and reconfiguring, leaving behind both presence and absence.

The materials I use carry fragments of past gestures and decisions, recontextualized to resonate with the present moment. This approach originates in a body of work shaped by personal struggle with Hodgkin’s lymphoma, where making became a means of endurance and a way to externalize a complex experience. By weaving these memories into new abstractions, past and present artistic languages converge and interplay, continually shaping and redefining one another.

Through a morphological lens, earlier visual languages are transformed, reappearing in altered configurations beneath and within the work. They build and erode like living structures, holding traces of what came before even as new surfaces emerge, creating a visual framework where memory, disruption, and repair remain embedded.

I think of my work as a surface inhabited by ghost forms, traces that emerge through layers, surfacing briefly before dissolving again into the structure of the work. What feels vital is not resolution but refusal: a refusal to settle into a single story, hierarchy, or tidy system. The repetitive, meditative nature of stitching, cutting, and layering slows the act of creation, emphasizing the weight of each gesture and the endurance required to build form and meaning. Through sustained engagement with material and method, labor becomes a marker of memory, persistence, and transformation.

Acts of repair and accumulation serve as structural gestures, shaping the work’s surface and echoing processes of care. These acts of mending, binding, and containment echo biological processes of healing and adaptation. Each mark both reveals and conceals, constructing a history of care, labor, and resilience within the surface. Clarity and ambiguity press against one another, inviting the viewer to sit with what remains obscured and to consider how forms, like bodies and memories,  carry the marks of what they have endured.