My work begins in drawing, sustained through cycles of marking, erasure, and return. I stay with the surface until something begins to hold, often without knowing what that will be. Forms emerge slowly through hesitation and revision, shaped as much by removal as by addition. What remains is not what I planned, but what I come to recognize and choose to keep. From there, the work moves into photopolymer plates, where each stage transforms what came before, extending the motion of the hand through a mediated process.

I approach intaglio as a system in motion. Drawing, transfer, and print shift through pressure and translation, carrying a continuous line of attention across film, plate, and paper. The image does not resolve. It opens and spreads into a field where marks repeat, disperse, and gather again, adjusting to the conditions that hold them.

I return to states where movement and retention exist at once. Material gathers, loosens, and gathers again, held unevenly across the surface. Structures begin to cohere, then falter. Direction slips. Density thickens without resolving. The work behaves less like a depiction than a condition, shaped by flow, obstruction, and redistribution.

My understanding of space is informed by Sogetsu Ikebana, where asymmetry and interval shape relation. I carry this attention into the work, allowing space to form through tension and proximity. Structure persists without closing, carried forward as trace, held in the field, as if it cannot fully leave and cannot fully remain.