My work investigates the ways personal and collective histories are carried through matter. Clay, synthetic materials, and found objects are central to my practice, joined at times by substances like coffee grounds, spices, or sand. These materials are not neutral; they are fragments, artifacts, and residues that bear cultural, political, and environmental weight.

Archaeology has shown that the richest traces of a people are often uncovered in their refuse; the shards of pottery, the broken tools, the fragments left behind. I approach my practice in this way: treating what is cast off or overlooked as an archive whose stains, cracks, and textures preserve messages that continue to be deciphered.

In the studio, I pour, layer, and embed materials into terrains where entropy and accident shape the work as much as intention. Concrete, house paint, foams, and other industrial substances sit uneasily beside ceramics, glass shards, and found debris. These juxtapositions reflect both the excess of consumerism and the residue of collapse. The resulting works are unstable records; accumulations in which natural and synthetic matter break down and recombine, carrying histories that are at once personal and collective.

My practice spans mixed media objects, site-responsive pours, and material experiments that question perception itself. Each work is an attempt to chart a temporary map from scattered parts: an object that remembers and forgets, grounds and unsettles, decays and persists.