My artistic practice examines identity, social structure, collective memory, and the politics of looking. Working across moving image, painting, and installation, I move between personal experience and public discourse to develop a fragmented, non-linear visual language.
I explore how subjectivity takes shape where emotional experience, collective memory, and cultural pressure meet—often in the smallest moments of being seen, ignored, or remembered.
I am particularly drawn to materials embedded in folk rituals, domestic ornamentation, or belief systems, which may appear peripheral but retain the emotional residue of collective experience.
I incorporate familiar but easily overlooked everyday objects—such as decorative lights, plastic bags, or gym equipment—as carriers of affect and symbolic tension.
Through repetition, misplacement, and reconfiguration, I activate these materials as vessels of cultural and emotional weight. My works exist between public space and private reflection, revealing how memory and emotion move fluidly between the social and the personal.
This interest in symbolic material and spatial memory extends into my research on diasporic identity, vernacular traditions, and the fragile architectures of belonging shaped by geographic and cultural displacement.
Whether working with decorative lights or ephemeral objects, I consider how visual symbols hold the trace of absence, desire, and transformation.
What emerges, again and again, is not only what these materials represent—but how they are seen, overlooked, or misrecognized.
My practice frequently returns to the act of looking—not only as an optical condition, but as a means of emotional registration, where visibility becomes a quiet demand for acknowledgment.
I explore how subjectivity takes shape where emotional experience, collective memory, and cultural pressure meet—often in the smallest moments of being seen, ignored, or remembered.
I am particularly drawn to materials embedded in folk rituals, domestic ornamentation, or belief systems, which may appear peripheral but retain the emotional residue of collective experience.
I incorporate familiar but easily overlooked everyday objects—such as decorative lights, plastic bags, or gym equipment—as carriers of affect and symbolic tension.
Through repetition, misplacement, and reconfiguration, I activate these materials as vessels of cultural and emotional weight. My works exist between public space and private reflection, revealing how memory and emotion move fluidly between the social and the personal.
This interest in symbolic material and spatial memory extends into my research on diasporic identity, vernacular traditions, and the fragile architectures of belonging shaped by geographic and cultural displacement.
Whether working with decorative lights or ephemeral objects, I consider how visual symbols hold the trace of absence, desire, and transformation.
What emerges, again and again, is not only what these materials represent—but how they are seen, overlooked, or misrecognized.
My practice frequently returns to the act of looking—not only as an optical condition, but as a means of emotional registration, where visibility becomes a quiet demand for acknowledgment.