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 layered forms, with embroidery adding tactile depth and striking dimension to my compositions. The hand and the importance of process are central; each cut, stitch, brush stroke, and drawn line is a deliberate act of labor, a tangible record of time spent in making. The work accumulates through acts of making, undoing, and reconfiguring, leaving behind both presence and absence.

I think of my work as a net trying to hold light, always catching and slipping at the same time. 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.

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, where making became a means of endurance and a way to externalize complex experience. By weaving these memories into new abstractions, past and present artistic languages converge and interplay, continually shaping and redefining one another. Each layered mark reveals and conceals, constructing a history of care, labor, and reflection embedded within the surface, where clarity and ambiguity press against each other, and the viewer is invited to sit with what remains obscured.