My work operates through aggregation and interruption, assembling multiple materials into contingent relations. Rather than beginning with predetermined ideas, the work emerges through making, as structure is negotiated through contact, resistance, and adjustment.

Working within a narrow set of conditions, I emphasize constraint over accumulation. Minor disruptions, bumps, shifts, misalignments become sites of meaning, and I wait for the moment when the work asserts itself as a self-contained unit, while remaining open to multiple interpretations.

Decisions are guided by material properties, weight, edge, friction, so that form remains responsive rather than imposed. I aim to hold the work at a point of tension, where it feels necessary rather than complete.

Porcelain, historically rooted in domestic and craft traditions, appears in my work as a structural material rather than a functional object. Repositioned within sculptural work, it challenges expectations of fragility and use. Craft is central to my practice as both a visual language and a method for forming and resolving relationships between parts through repetition and adjustment.

Alongside porcelain and wood, I incorporate materials such as 3Dprinted plastic, metal, leather, fabric, wool felt, glass, acrylic, oil paint and so on. These materials expand my sculptural language through contrasts between handmade and industrial processes, softness and rigidity, and permanence and contingency. I’m drawn to materials for their tangible, experiential presence and their demand for physical engagement.