My work positions the body as both site and method—an active threshold where sensation, memory, and identity converge. Each piece begins from lived contact: tactility and impulse moving through matter.

I approach painting as sentient form, a structure that registers and transmits experience in real time. Surfaces are cut, burned, and layered, then scanned, mirrored, and digitally recomposed. Projected images retain residues of touch and carry them forward as infinite sequences.

The practice draws from movement theory, Butoh, and theories of skin as boundary. These frameworks support processes where forms appear, shear, and recombine in response to embodied states.

I understand abstraction as inquiry rather than resolution. The studio becomes a site for testing how attention becomes form, how painting sustains vulnerability while remaining open, and how surface itself senses contact, perception, and time.

My research investigates drawing as a durational, somatic practice grounded in impulse, repetition, and perceptual rhythm. This 32-week structure was developed through years of interdisciplinary work across painting, performance, and pedagogy, and it frames drawing as a cycle of embodied attention and non-representational mark-making.

Built on a repeatable framework—body as vessel, breath as vehicle, movement as impulse, mark as evidence—the method draws on lineages from Butoh, Laban effort theory, abstract expressionism, and non-verbal gesture traditions.

Separate from my exhibited works, this practice underpins my approach to presence and form. It functions as both research and pedagogy: lived in the body, unfolding through time, and leaving record on the page.

The practice has been shared through weekly audio sessions, live classes, and intensive series, and has been further developed for use in academic courses, residencies, and interdisciplinary workshops.