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 treats drawing as a movement language—a practice where gesture, time, and material register states of transition and becoming. Marks function as both evidence and proposition: they record what has occurred while opening to what may emerge.

Drawing Within is a multi-arc project that isolates different registers of practice: thresholds and instability, memory and palimpsest, risk and improvisation, embodied perception, and transformation toward future states. Each arc is organized around twelve modular themes, allowing distinct bodies of work to accumulate into a sustained inquiry.

Methodologically, I work across drawing, painting, projection, and installation, drawing from lineages in abstraction, Butoh, and performance traditions. This inquiry also shapes my pedagogy: I design courses where students test how movement, duration, and material decisions generate form, positioning drawing as a primary research method in contemporary practice.