My practice stems from my experimental engagement with materials. Whilst working at the intersection of print, drawing and sculpture, I combine different processes. In doing so, I construct work through the strategy of tinkering, by combining and alternating innovative methods in order to perceive what happens when materials are used unconventionally, for instance by applying different materials to printmaking processes. In this regard, the choices made during the development process of the work are essential. It is a constant search for the balance of when to intervene or when to let go and allow for materials to take over and for the unexpected to happen, whilst feeding back to the initial idea of the project and indicating a sense of painterly or sculptural logic. I aim to communicate on an intuitive, non-verbal level by encapsulating complex emotions within forms, strokes and colours. I aspire to establish a visual language with repetition, rhythm and flow, that includes both the imperfections and the unexpected as part of a growing vocabulary.
I am driven to create work by the infinite possibilities of the composition of graphic elements, in which association, movement and dissonance are guiding ideas to create my own set of abstract and dynamic codes. These are made up by assembling shapes drawn from architecture, everyday objects and memory. Shifting from organic to geometric appearances, they are in flux and generate multiple associations, while playing with anthropomorphic attributions.
My work is based on my observations of the formation of groups, and social clustering. My art uses a variety of media to create a visual suggestion of the complexities of society. Layers blur, embossing and debossing alternate, illustrating the intricate and labyrinthine nature of interaction within society, the space in which convergence and organization take place.