My practice begins with an ongoing interest in the fragile and often unstable relationship between the body, memory, and images that move between digital and physical space. I work across printmaking, painting, digital media, and experimental processes, using image making as a way to think through how bodily experience is carried, distorted, and transformed by images. Much of my work grows out of my own female bodily experiences. Rather than treating the body as a fixed subject, I approach it as something shifting and cyclical, marked by vulnerability, illness, grief, and recovery. These lived experiences often appear alongside virtual or mediated female bodies, creating friction between what is felt and what is constructed. Through this tension, I question how femininity and bodily presence are shaped and consumed within contemporary image culture. Layering plays a central role in both my thinking and my process. I work through repeated combinations of digital monotypes, printed surfaces, paint, and surface treatments. Images are built up, partially erased, stained, or disrupted. Instead of resolving into a stable form, they remain open and unstable. Control and unpredictability operate at the same time, allowing time, material behaviour, and repetition to quietly alter the work. I am drawn to moments when images begin to fail, stain, or slowly fall apart. In these moments, the boundary between the artificial and the organic becomes uncertain. What might first appear as loss or damage becomes a productive space for transformation. Repetition functions less as duplication and more as a way of noticing difference, while texture records both intention and accident. My practice also responds to discomfort with how images are consumed digitally, where smoothness, clarity, and immediacy are often prioritised. By introducing slowness, material resistance, and instability, I resist the idea of the image as a static object. Instead, I approach images as transitional forms that hold traces rather than conclusions. Through this approach, I seek to expand the possibilities of printmaking and painting as open and mutable practices. I am interested in how images can operate as bridges between emotional states, bodily memory, and speculative narratives that have not yet fully arrived. In these in between spaces, the ephemeral and the enduring, the controlled and the uncontrollable, are allowed to exist together.
*Future Forward Feature My work explores the space between the virtual and the physical through the lens of the body, using digital print, experimental materials, and process-based research. By combining technologies such as digital image making with organic and unstable materials, I question ideas of permanence, control, and optimization often associated with the future. Rather than presenting technology as seamless or utopian, my practice focuses on fragility, cycles, and bodily experience, especially those that are typically hidden or considered inconvenient. This approach reframes the future as something imperfect, embodied, and continuously transforming, positioning my work as future-forward through its critical and material engagement with emerging technologies.
