Artist Statement
My practice revolves around how human presence is recorded, transformed, and remembered within an increasingly mediated world. Working across stitching, photography, printmaking, installation, painting, and curatorial practice, I explore the traces that remain as images move between screens, bodies, archives, and physical space. Through acts of translation, repetition, and repair, I examine how memory, identity, and human experience exist across both digital and material environments.
Images serve as the point of departure. Drawn from personal photographs, historical archives, found imagery, and networked visual culture, images are reworked through labor-intensive processes that slow their circulation and alter their meaning. Recently using stitching as a form of drawing, I reconstruct images stitch by stitch, transforming digital and photographic information into material records of attention. Thread becomes both mark and measure, carrying evidence of time, touch, and human intervention. Through this process, the image shifts from a fixed representation to an active site of negotiation between presence and absence, visibility and erasure, permanence and change.
This work is informed by feminist traditions that value embodied knowledge, care, repair, and the visibility of labor, as well as the recovery of overlooked narratives and forms of making historically dismissed as craft or domestic work. Within this framework, stitching and repair function not as decorative processes but as critical methodologies that challenge hierarchies between fine art and craft, and reassert slowness, attention, and repetition as meaningful forms of knowledge production.
Central to the work is the concept of the trace. Rather than treating traces as passive remnants of the past, I understand them as active records of contact and transformation. A stitch, a mark, a fragment of an image, or an accumulated layer of material - each becomes evidence of a relationship between bodies, technologies, histories, and places. These traces reveal how identities are continually constructed and reconstructed through systems of memory, perception, and image-making.
The work often engages overlooked histories, personal narratives, and collective experiences, using archival material and laborious processes to reconsider what is remembered, what is lost, and what remains visible. Repair functions not as restoration to an original state but as a generative act that acknowledges rupture while creating new forms of connection. Through stitching, layering, and spatial arrangement, I seek to expose the tensions between fragility and resilience, intimacy and distance, permanence and impermanence.
Across all mediums, my practice is concerned with translation: between digital and physical worlds, image and object, individual and collective memory, virtual circulation and human experience. By transforming images into material traces, I create spaces where viewers can reflect on the many ways human presence persists within the complex digital networks that increasingly shape contemporary life. The work does not seek to recover fixed narratives, but to hold space for the ongoing processes through which meaning is formed, fragmented, and reassembled.