I work intuitively, but not loosely—every line, edge, and placement is charged with intention. The pieces are built through a pursuit of contact: forms reaching toward one another, wanting to touch, understanding they never will.

My collages are constructed from fragments that carry their own energy. Color is not decorative—it directs, disrupts, and activates. I use color theory as a kind of tension system: hues that vibrate against each other, push forward, recede, and destabilize the surface. Pattern becomes a tool for movement and depth, pulling the eye in while resisting stillness.

There is a push and pull between precision and play. Edges are cut to hold tension. Shapes are arranged to create near-connections—moments where the eye completes what the hand withholds.

My process is physical and deliberate. I work with watercolor, gouache, ink, and paper—painting, cutting, and reassembling each element by hand. Surfaces are built in layers, then interrupted: drawn into, cut apart, and restructured. The hand remains visible throughout—through line, pressure, and edge—so that each decision holds its weight and nothing is neutral.

I’m not interested in resolution. I’m interested in charge—how an image can hum, shift, and stay just out of reach.