Artist Statement

My work organizes materials into compound environments in which relations between matter and time remain active. These are not fixed landscapes but evolving fields, where human and more-than-human processes register through accumulation, pressure, and change. The work invites sustained attention without prescribing a single reading.

Across handmade paper, handspun and woven fiber, and writing, the work proceeds through repeated procedures: pulping, spinning, weaving, marking, and rewriting. Materials are brought into contact and subjected to sequence and constraint, allowing form to develop through variation rather than design.

The practice is rooted in inherited techniques and contemporary conditions. I spin fibers, weave cloth, and produce paper, dyes, and inks as part of the work itself. These processes are not auxiliary—they determine structure. What I call Creative Heritage Practices names this use of inherited methods as active systems rather than references.

Drawing, weaving, and writing operate as parallel systems of mark-making. The movement of pencil across paper and the shuttle across the loom produces measurable changes—tension, density, interval, and drift. These are not expressive gestures but procedural ones, repeated and adjusted over time.

The work tracks how forms are carried, altered, and recombined through use. Patterns, phrases, and structures are taken up, repeated, and changed under new conditions. What persists is not a stable form, but a sequence of variations produced through ongoing transformation.