My work emerges from sustained contact with materials under pressure — physical, perceptual, and psychological. Whether using tar paper, wire, mesh, sutures, or the drawn figure, I approach each piece as an investigation rather than a preformed image. The work records strain, repair, imbalance, correction, and resistance. What remains is not resolution, but the point at which the work holds. I begin with things: structures, objects, accidents, gestures, scraps of language, evidence left in public space. My interest is not in transforming them into something more poetic or beautiful, but in determining how much they can sustain when isolated and examined. Too little pressure and they remain invisible; too much and they become aestheticized, symbolic or false. My movement between painting, photography, printmaking and poetry has been a way of testing that boundary in different forms. The subject changes, the medium changes, but the central tension remains between disclosure and distortion.
wall drawing
size variable