The idea of an image as a process, unfinished, in motion, is central to my practice. My work includes video, sculpture, drawing and installations. Through continuous sketching, erasing, sawing and videotaping, I examine how the image relates to material reality. Each action, whether it’s cutting a shape from wood or filming a gesture, becomes part of a larger inquiry into what it means to make something visible.

My video works revolve around simple, recognisable actions: kneading clay, bending rubber, smearing paint over skin. These are demonstrations of manipulation, not in a deceptive sense, but in the literal, manual handling of matter. They are easy to follow, yet remain strangely ambiguous. You understand what you’re seeing without being able to fully explain it. In this way, the work operates in a zone between clarity and uncertainty.

I’m particularly interested in the space that emerges when physical material and the easily manipulated nature of digital media meet. It’s a space where texture, resistance, and friction interact with smooth editing, repetition and the possibility of endless undoing. My practice does not aim to resolve this tension, but rather to inhabit it, to keep the image in flux, to resist closure.

At the core of my practice is a curiosity about perception: how meaning is constructed from what we see, and how unstable that meaning can be. By exposing the process - showing edits, traces, hesitations - I invite the viewer to remain within the act of making, rather than only engaging with the finished form. The work stays open, rooted in physical gestures, yet always shifting in what it offers or reveals.