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, sustained through cycles of marking, erasure, and return. I don’t expect much of what I create to hold, much like the ephemeral and spiritual nature of flower arrangement. What remains persists as a trace, something I carry forward even as it begins to fall away.
The forms I create are shaped as much by what is removed as by what is added. The work then continues into the photopolymer gravure process, and I carry the drawing through film, plate, and print. At times something is realized, and at times it fades. What remains is not what I planned, but what I come to recognize and choose to keep.