The archive traces the movement of my studio over the past twenty-seven years: from an early body of work grounded in family snapshots (1999–2018) to a more recent immersion in vintage needlepoint, painting, printmaking, and experiments with process, surface, and resin-based assemblage (2018–present), a period that also includes collaborations and side projects with fashion houses, as well as a long-standing, hands-on engagement with leather craft.
While the materials and forms have changed, certain concerns persist. I resist surface when it functions as a form of erasure, approaching it instead as a threshold – something to be entered, stressed, altered, and pushed into depth, relief, or volume, where labor, duration, and material pressure remain visible. In recent work, vintage needlepoint emerges as a pixelated, proto-algorithmic surface, generating assemblages that function as residues of operational systems – structures that still shape material outcomes even after belief in their organizing logic has eroded.
Many of the materials I work with were made by other hands; engaging them becomes a dialogue across time with unknown makers, attentive to the decisions, errors, and gestures they left behind. I find myself returning again and again to the same questions: how images change over time; how surfaces, grids, repetition, and reproduction operate; how value and labor are distributed; how inherited, often undervalued craft traditions might be re-read and re-coded; and how structures continue to shape outcomes and materials even after we stop trusting them to make sense of the world.
