While dividing the air with both hands
My practice examines the fragile meeting point between the body, memory and the shifting space that forms between the digital world and the physical one. Through printmaking, painting and experimental materials I explore how experiences of the female body such as illness, vulnerability and recurring cycles become places where reality and virtual images overlap in quiet but persistent ways. These places are never stable. They hold sorrow and resilience together and allow control and unpredictability to reshape one another.
Building on this tension, while dividing the air with both hands, I work within this uncertain realm to create spaces where enduring sorrow and momentary grief meet. By blending digital and traditional flat media I look at the emotional strain shared by these two states and form a middle ground where reflection and transformation can take place. Through layers of digital monotypes, printmaking, painting and surface treatments I reshape rigid subjects into unfamiliar forms and loosen familiar taboos. The artificial and the natural begin to meet in ways that do not collide. From there I examine the slow terrain between control and chance, where repetition and gradual shifts in texture guide the direction of the work.
Rather than staying tied to the physical world, I expand the empty space within my practice and build an area where nonfictional ideas rest beside speculative fiction. This allows me to explore images that are not fixed to a single truth. It also helps me question the weight of digital consumption. I look for new directions in print and painting where images function as small bridges toward narratives that have not yet arrived. Through this approach I focus on imagination, uncertainty and the places where the fleeting and the lasting quietly meet.
Extending this sense of uncertainty, I often begin from sensations that are hard to explain. There are moments of imbalance or quiet discomfort or a strange distance from my own body. These sensations come from autoimmune reactions, hormonal changes, childhood imprints and infections that settle inside the body without fully revealing themselves. They do not disappear. They remain in a place between presence and absence. I try to translate this space into works that draw from digital imagery, print processes, new materials and painterly surfaces.
From this foundation the images grow slowly through layers of pigment, inkjet traces, hand applied washes, cyanotype reactions and biological materials such as gelatin or SCOBY. These surfaces respond to time. They stain, fade, swell and shift like living organisms. Through this gradual process, bodily irregularities turn into unfamiliar landscapes that map the unstable ground of the female body.
In dialogue with these transformations, I do not illustrate the body directly. Instead I work with its traces and imagined possibilities. Digital representations often show a flawless body that can be reproduced endlessly while real skin behaves in more vulnerable and unpredictable ways. When these two forms meet in my work, they create a tension between desire and discomfort. This tension challenges how digital culture idealizes and consumes the female body.
As this tension unfolds, the surface reacts to light and movement in installation settings. When someone approaches, colors shift and layers tighten or soften. Certain marks reveal themselves only at that moment. The work becomes a living presence rather than a fixed representation and creates a space where the viewer’s body and my own can meet in a quiet exchange.
Bringing these threads together, my practice approaches print as a way of thinking. It accepts repetition, erosion, accumulation and the balance between intention and chance. Through this approach I work to rethink the unseen narratives that shape the body and present them as landscapes that continue to move and transform. They are spaces where vulnerability becomes productive and where the surface of life keeps rewriting itself.