About

The body has always been my first language. 

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Before I could articulate what I felt, I knew how to move through it. Years of working as a dancer and performance artist taught me that what appears spontaneous — an improvised gesture, an unrehearsed response — is in fact the result of accumulated practice, repeated until it becomes instinct. Improvisation, as I understand it, is not freedom from structure. It is the capacity to remain fully present to what is happening — inside and outside simultaneously — and to respond with precision in a single unrepeatable moment. This became not just my method, but my way of knowing.

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Yet performance disappears. And I began to feel the limits of that disappearance. I wanted to hold what was volatile — to give duration, weight, and physical presence to interior states that would otherwise vanish the instant they were felt. This desire to translate experience into something that occupies space, that can be touched and returned to over time, led me from movement into sculpture and installation.

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My work moves in two directions, though they share the same root. 

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The first turns inward: mapping interior sensation, tracing the textures of an inner life that resists simple articulation. The self I examine is never entirely my own — it is shaped through contact with others, continuously formed at the intersection of the personal and the social.

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The second engages the world, but never from a distance. I am wary of the observer’s position. When I approach social questions, I do so from the same interior standpoint — through the lens of individual experience, through empathy rather than argument. The premise is simple: even the largest wounds are felt one person at a time.

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