Artist Statement

My work begins with experiences that are difficult to name directly - silence, memory, vulnerability, rupture, longing, waiting, and the subtle internal shifts that follow change.
I am less interested in illustrating these states than in allowing them to become physical. Working across painting, mixed media and relief  , I build surfaces through layering, concealment, fracture and exposure. Material is not simply a support for an image; it carries pressure, memory and time.
Faces recur throughout my practice because they can hold contradiction without explanation. A face can remain almost still and yet contain fear, absence, resistance, tenderness or transformation. I am drawn to the tension between what is visible and what remains withheld.
A distinctive element of my visual language is a self-developed process for creating raised, thread-like structures from my own modelling mixture. These are neither textile threads nor wire, and they are not decorative lines. The line begins on the surface, but is no longer bound to remain there. It can lift away from the surface, extend into space and become a fragile material structure in its own right. Built slowly by hand, these lines form networks that suggest routes, veins, roots, scars or currents - physical traces of connection, tension, memory and inner movement.
Experimentation is central to my process. Earlier mask studies made with earth, coffee, ash, plaster gauze and heavily textured surfaces gradually led towards the quieter pale reliefs of the Inward Light series. Through these works, I became increasingly interested in how little a face needs in order to carry emotional weight, and how silence itself can become a presence.
I am interested in the point where image becomes object and where surface begins to enter physical space - becoming skin, boundary, fracture or shelter. It is within this shifting territory between image, material and space that something internal begins to take physical form.
My work is ultimately concerned with trace - what remains after an experience has passed. I want the material to hold what cannot be fully explained: not as narrative, but as residue; not as illustration, but as presence.