My practice moves across land art installations, experimental film, digital processes, unfired clay, ceramics, painterly media, and fabric. I no longer work from one dominant medium, nor from the expectation that art must resolve into a singular object. Instead, I move between material and immaterial forms according to what each encounter demands, embracing the artisan as much as the conceptual theorist.
My work is informed by Hartmut Rosa’s concept of resonance and uncontrollability: a reciprocal relation to the world in which we are touched, respond, and are changed through encounter. Against a culture marked by acceleration, hostility, and control, I seek modes of making grounded in relation, contingency, and aliveness.
In one register, this appears through tactile, intimate, and grounded processes — softness, meditative working, and focus. Here, resonance is carried through touch, resistance, rhythm, and the slow exchange between body, material, and world.
In another register, the work becomes conceptual, feminist, rebellious and experimental — drawn to the digital realm, to unstable worldviews, to freedom, and to questioning how reality is constructed. These are not contradictions to be resolved, but coexisting forces within the practice.
I resist the singular figure of the artist as object-maker, while still claiming the artisan in me. I am interested in developing a practice that moves beyond object-making as the dominant measure of artistic value within a hyper-capitalist world. At the same time, I remain committed to artefacts and forms that hold meaning, presence, and individuality.
There is no single voice in what I do. The work takes shape through shifting positions, multiple registers, and varied material languages.
It emerges through movement: between intimacy and critique, grounding and experiment, tenderness and refusal, permanence and disappearance.