Natural occurrences of rhythmic patterns such as ripples in water, river systems shaped by erosion, the layered forms of topographic maps, and the fleeting behavior of light that determines what is seen and what is hidden are central to my practice. I draw from these structures that emerge when natural processes are left to unfold without interference. The core of my practice lies in a relational mode of working, where making develops through interaction rather than control. Through exploring the implementation of particulars such as light, mark making through surface excavation, and intuitive studies of materiality, each becomes a point of balance in the work, as no intervention or aspect can remain fixed. These elements shift daily according to conditions like time, space, and mood. When attuned to these subtle changes, they offer different ways of understanding how to interact or be with the material or creative space. I move between mediums depending on my focus.

My blind embossings create delicate, river-like systems through repetitive mark making that rely on light, shadow, and perspective to be fully seen. In my more recent wood carvings, I use Japanese hand tools and a sandblaster to explore how material responds to specific interferences. The process is slow, tactile, and often unpredictable. Being open and attentive creates space to notice transformations within the work, like how a cumulative build-up of marks can alter the character of a surface, or how light reshapes the perception of form as it moves through the day. My work is rooted in a phenomenological approach, an awareness of how perception shifts through time, movement, and proximity. The act of looking becomes part of the work itself, as light and perspective continually alter what can be seen. From a distance, much of my work appears minimal, sometimes almost monochromatic and opaque, but details reveal themselves through close, intimate, and sustained looking. My practice resists immediacy, which feels significant in a time driven by speed and constant output. It is grounded in slowness, in noticing, and in returning again to look more closely.