My practice seeks to frame human conditions of understanding, progressing, suffering, and halting. My work attempts to push the boundaries between art and life by juxtaposing materials in unexpected ways to rethink how we perceive what is typically overlooked or considered obsolete. Using found materials is central to my practice. Engaging with scrap presents me an opportunity to work with materials that contain their own histories, evoking notions of transience and resilience. Handling such material allows me to further my investigations of internal and external change, while questioning the useless vis-a-vis the useful. Exploring notions of transformation is also my way of understanding the process of time, as one faces the stillness between an accumulation of the past and a push towards the future.

Sometimes I weave animal studies and routine objects into my work and by continuously rearranging physical materials I leave the work open to mythical, historical and spiritual associations. Beginning on a personal, intuitive note, my work becomes collaborative as it progresses. The works are deeply influenced by the environment and physical contexts in which they are produced; for it is not only the sculptural form, but also its relation to the space it occupies (and defines) that my practice seeks to highlight. I see my practice as an immersive journey through form and material, towards the non-material and experiential.