At the core of my practice lies an exploration of the trace — as a metaphor for presence, loss, and transitional states.
A trace is the result of interaction: it simultaneously belongs
to both object and subject, yet constantly escapes possession.
I work primarily in printmaking — etching, aquatint, mezzotint, linocut, monotype, and frottage. Within these techniques, I seek ways to convey expression, preserve a moment of tension, and communicate perception. Each print captures a moment that cannot be repeated. Even within serial processes, I pursue uniqueness and divergence.
Some of my projects take the form of archiving experience: gesture, touch, and pressure are preserved in the material as documents
of time. Paper becomes a space of memory, a surface that holds what is vanishing.
I explore how materiality and tactility can become a language
to speak about memory, time, and lived experience.
