My understanding of form comes to me from my study of Sogetsu Ikebana. This training continues to shape both the conceptual and formal foundations of my work, emphasizing asymmetry as harmony, negative space as an active presence, and impermanence as a generative force.

My work begins in drawing and unfolds through cycles of marking, erasure, and return. As an artist concerned with memory and the instability of records, I do not expect much of what I create to endure. Like the ephemeral nature of flower arrangement, the work exists through continual change. What survives is often unexpected.

In my current body of work, Errant Lexicon, traces, fragments, and recurring forms gather into an unstable vocabulary. Through accumulation, transfer, and erasure, I construct images that remain provisional and open. Rather than conveying fixed meanings, these works explore how marks persist, drift, and recombine over time.

I draw, prepare the photopolymer plates, and hand print each impression myself, carrying the image through successive stages of translation. As it moves from drawing to film, plate, and print, the image is repeatedly transformed. What emerges is shaped as much by loss, interruption, and revision as by intention.