ABOUT
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ARTIST STATEMENT
My artistic process is compulsive, physical and often obsessive. I’m fascinated by the threshold between nightmare and disillusion: a space where perception distorts and meaning becomes unstable. This is where my work operates; not to clarify, but to sustain tension and provoke a disoriented, almost sleepwalking attention.
Rather than offering answers, my work opens up constructed systems and social norms, creating space for doubt, ambiguity and embodied reflection. I use imagery from pop culture and mass media to express private or repressed emotions and collect found objects for their raw, intuitive charge; chosen for their potential to trigger recognition, discomfort, or memory. I manipulate these codes and materials, exaggerating or distorting them until something more unstable and alive emerges.
I work across disciplines, including: sculpture, installation, performance, drawing, painting, and ceramics, resisting fixed categories. My visual language is shaped by techniques I’ve developed and refined over time: ceramics, mold-making, special effects makeup and prop building. These methods allow me to manipulate surface, illusion and flesh: to question/pin-point the boundary between the artificial and the visceral.
In Bags (2024), a body-sized bag, blonde hair spilling out, just enough to make you wonder: a discarded woman? A trophy? Or just a trick of the eye? On top, a smaller bag, a tail slipping free; fox fur, or something far more intimate? You think you know, but I won’t let you be sure.
In Untitled (2025), a ceramic leg, smooth and vulnerable, floats in the hollowed-out negative of itself. A landscape painting, forced to hold it in place with rough bolts and metal arms. A moment of dislocation, where the absurd and the hopeless are amplified.