I am a storyteller first.

My practice is rooted in concept, documentation, process and exchange. I am interested in how autobiography can function as a mechanism of self-possession rather than confession and how the self, when positioned deliberately, becomes material. This informs my willingness to use my own history when it serves the work. Self-exposure is not spectacle for its own sake but a device through which complex subjects can be examined, destabilized, and reconfigured.

I am less concerned with whether the work is “good” or “bad” than with what it produces in relation. The object is secondary to the exchange it activates and the subtle shift in perception that occurs between viewer, artist, and work.

Each project begins with an inquiry that unfolds through process rather than answer. It is in the sustained working through of the question that something beyond intention begins to assume authorship. My work invites the viewer into a conversation in which they are altered, even if only to a minuscule degree.

Trained in fashion, I understand presentation as both strategy and shield. Dressing, for me, is a way of disappearing, allowing the ideas to remain central while the body recedes into construction. This experience taught me to think critically about surface, silhouette, and control, a tension between visibility and erasure that continues to inform my installations, performances, and encounters.

Ultimately, I am interested in work that shifts the viewer slightly off center, work that resists easy resolution and instead creates a space for sustained thought.