Statement

I approach sculpture as a way of thinking through the body. My work translates consciousness into matter through physical experience, as a form of conceptual craft. It often begins with a poetic observation that moves into material, most often clay, unfolding through repetition with both structure and rhythm. Through this process, form emerges between intention and intuition.

Words and ideas are at the starting point: I draw references from philosophy, care ethics, feminist theory, mythology, and literature to shape personal narratives. Research nourishes the work, but the studio is where understanding becomes physical. Making is a meditative, embodied practice that slows perception and holds space for present reality.

I am drawn to the space where art and craft intersect, where the trace of the hand remains visible and meaning is carried through touch. I question hierarchies that have historically separated fine art from forms of making associated with labor, the domestic, or care. In an increasingly digital environment, I am interested in how embodied practices and rituals restore value to what remains irreducibly human: touch, care, and presence.

My forms are inspired by natural archetypes and become spaces where shape can morph into something unexpected. Textures shift from evoking elemental surfaces to textures nature itself could not produce, neither fully organic nor entirely artificial. I seek a language that holds tension: softness within density, the grounded and the ethereal, and at times, fracture within poetry. Sculptures feel eroded, worn, or sharpened, as if time had revealed their essence.