Artist Statement

Visceral and organic, my work investigates internal psychological states that surface through physical action. As I paint and work with clay, I treat movement as a record of emotion. Each gesture preserves tension, resistance, and release. My paintings drip, splatter, pool, and smear, while my ceramic sculptures build toward collapse, embracing stress through ripping, tearing, pressing, and distortion. Marks, fractures, and folds trace the body’s direct engagement with material, making the physicality of psychological experience visible.

My process is guided by intuition yet structured by preparation. I organize the studio carefully, then allow making to unfold responsively and unpredictably. The body operates simultaneously as an instrument and site, generating a dialogue between mind, muscle, and material. Structural instability, surface tension, and material failure become formal strategies for examining containment, rupture, and release.

Influenced by artists like Louise Bourgeois, Tracey Emin, and Eva Hesse, I am drawn to practices that confront vulnerability through direct bodily engagement. Their work demonstrates that internal states can be rendered materially rigorous, and formally intentional. Additionally, their work inspires me to consider alternate perspectives of understanding self. I have learned that softness is a physical sensory experience, a response to material. It is something that is pliable, mailable, and tender like fresh clay or wet paint. Yet also, softness is a behavior and an emotional response, characterized by gentleness, vulnerability, and openness. In my own practice, I seek to render these soft, internal states tangible, allowing psychological force to occupy physical space, assert weight, and resist containment.