My practice begins with a simple premise: images think.
I work with drawing, painting, and collage as sites of encounter where matter, memory, and language enter into relation. Each work emerges from the gathering — and friction — of heterogeneous elements: fragments of paper, cardboard, found materials, text, colour, and line. These components are not subordinated to a pre-existing form; they collide on the surface, and through that encounter, the image takes shape.
Within these surfaces, my intervention — line, gesture, figure — coexists with elements of the world that retain their own histories. The image is not constructed through intention, but through negotiation: a process of accumulation, adjustment, and displacement in which meaning remains unstable.
The page operates as a cartographic space. Diagrams, figures, and textual fragments intertwine without fixed hierarchies, forming temporary relational structures. My background in librarianship informs this process: arranging, reordering, and linking become aesthetic operations, and the archive shifts from repository to active system.
This approach is grounded in a central question: what kind of image can art bring into the world. Not an image that explains, but one that demands attention — a slow, sustained, almost tactile attention — and activates the viewer as part of its process.
Here, thinking unfolds through making: in the contact between materials, in the layering of surfaces, in the emergence of forms that were not predetermined. Each work becomes a constellation in tension — an open field where knowledge does not appear as certainty, but as experience.