Statement

My work emerges from an interest in how photographic images behave when they move beyond the flatness of traditional print. Through sublimation transfer onto polyester textiles, I explore the material drift that occurs when heat and pressure disperse color, soften edges, and introduce subtle distortions. These shifts transform the image from a representational trace into a tactile surface—one that carries the memory of its origin but responds to the conditions of its making.

Frames play a central role. Hand-built wooden structures, exposed edges, and aluminum elements operate as porous architectures that shape how the textile holds itself in space. In some works, the image is split across multiple fragments; in others, it floats in open suspension or gathers through stitching. These gestures emphasize the instability of photographic information and how perception changes with light, proximity, and movement.

Many works begin with botanical or reflective sources, yet figuration remains purposely unstable. As images pass through material translation, they become atmospheric fields—quiet studies in presence, tension, and fragility. I am interested in how an image can behave like a soft body: vulnerable to pressure, open to space, and responsive to its surroundings. Across the practice, I treat the photographic not as a fixed window, but as an event that unfolds through surface, material, and the architectures that hold it.