My work moves between sculpture, installation, painting, and light-based systems. I use line, light, wiring, and industrial materials as both structure and language—elements that carry signal, hold memory, and define space. Across formats, I’m interested in how meaning is transmitted: what reaches us, what fails, and what lingers quietly.
Much of my process begins with drawing. Rulered lines, hand-drawn marks, and repeated gestures function as a way to regulate space and attention. These lines often behave like signal paths—routes that suggest order while revealing fragility, interruption, and repair. I’m drawn to restraint and reduction, allowing materials to remain visible and unresolved rather than polished or concealed.
My background spans studio art and professional audiovisual systems work, and the two are inseparable in my practice. Concepts such as signal flow, transmission, feedback, and redundancy are not metaphors but working principles. Exposed wiring, suspended elements, and calibrated light are used deliberately, emphasizing presence over spectacle. I’m interested in systems that feel human—structures that hold tension, vulnerability, and care.
Many of my earlier installations were temporary by design and no longer exist. Their disappearance informs how I think about permanence, memory, and responsibility. Rather than producing fixed monuments, I focus on creating conditions for encounter—works that reward slow looking and in-person experience. Scale shifts, but the intention remains the same: to create quiet zones where attention can settle.
Underlying the work is an ongoing reflection on contemporary life shaped by technology, acceleration, and constant mediation. Instead of responding with commentary or critique, I build spaces and objects that offer pause. The work does not attempt to explain or resolve disconnection, but to sit with it—to acknowledge that transmission is imperfect, and that presence itself can be an act of repair.