ARTIST STATEMENT

My work moves across digital collage, photography, video, drawing, and installation, and is structured around a recurring group of figures that I return to from piece to piece. They are half human, half porcelain: theatrical, fragile, overdetermined, and never entirely fixed. They travel through real and invented cities, landscapes, interiors, and art-historical settings, often accompanied by a black panther who appears less as symbol than as witness, accomplice, and counterweight.

I think of the work as a serial image-world rather than a sequence of isolated pieces. I’m interested in what happens when femininity is treated not as identity in any stable sense, but as a constructed visual condition—something staged, stylized, projected, admired, misread, and rehearsed. The porcelain figures carry ideas of refinement, surface, fragility, and display, but also of hardness and breakability. They are made to be looked at, yet remain difficult to fix.

Many of the places in the work feel familiar, but not because they are documentary. They are assembled from fragments of real architecture, invented landscapes, remembered images, cinematic references, and locations that seem to belong to an art history the viewer half-recognizes but cannot fully place. I’m interested in this threshold between recognition and fabrication: the moment when an image feels culturally known before it can be located.

Romance, glamour, adventure, danger, cliché, and ornament all matter to the work, but not as decorative themes. I use them as narrative and visual structures through which femininity is circulated and disciplined. The figures in the work are never fully innocent and never fully in control. They travel, pose, repeat, disappear, return.

 

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