My practice navigates the threshold between abstraction and figuration, where form resists definition and sensation carries as much weight as narrative. Drawing from the language of somatic sensitivity, I approach materials not as inert substances but as agents with histories, moods, and frequencies.
Each work emerges from a state of attunement—an embodied process of listening to surfaces, residues, and the unknown. I am interested in what art can become when it is made from the haptic first, where meaning lingers in texture, temperature, and proximity, unfolding as visual rhythm.
Informed by psychogeography and queer flânerie, my work often takes the shape of emotional mapping—an attempt to feel through something by attuning to atmospheres and in-between spaces as agents and sources of inspiration. I am drawn to what hovers at the edge of perception: the thing you almost recognise, the shape just beyond sense. This informs an aesthetic of ambiguity, where works are never fully fixed, always open to projection, inhabitation, or unease.
Engaging with queer phenomenology, I ask: how does the body locate itself in space? How does queerness shape ways of moving, seeing, and dwelling? Through layering, erasure, and surface manipulation, my works stage this search for orientation, revealing forms that oscillate between the familiar and the alien, the fleshy and the spectral. Ultimately, my practice is a form of queer sensing—a way to feel through material, time, and space in modes that resist legibility.