Principle of Operation

My practice is grounded in sustained bodily engagement with material processes. Working through direct contact between pencil and paper, mark making registers sensing, adjustment, and response as they unfold over time. The work develops through accumulation of pressure, repetition, and attention, compressing time into surface. Friction and resistance function as organizing conditions within the work. The drag of material, the compression of surface, and the feedback generated through contact operate across visual, tactile, and acoustic registers. These signals regulate pace and modulate decision making, anchoring the process in continuous responsiveness without predetermined outcomes. Perception is not external to this process; each decision emerges within a field that simultaneously reshapes the one making it. What emerges is shaped by proximity, feedback, and the changing conditions of the surface itself. The work unfolds through ongoing calibration. The rate and recurrence of contact shift in response to resistance, fatigue, and interruption. Through repeated return, time is compacted into density, while variations in pressure and rhythm register hesitation, pause, and adjustment. Decisions remain local and provisional, conditioned by what has already accumulated. Structural cohesion is not imposed from outside, but arises through duration and adherence to the logic of the mark. From a distance, the works read as dense fields shaped by time; at close range, individual marks remain legible as discrete events. The work is encountered not as an image to be interpreted, but as a condition formed through prolonged contact, where material, time, and attention converge.

15 works