My practice unfolds like a laboratory. On these shelves are fragments, prototypes, and half-formed bodies — evidence of a process that treats the studio as a site of testing and discovery. I work with modern, industrial materials such as polyester wadding, vinyl, plastics, and synthetics, but often return to traditional craft techniques: sewing, stitching, binding, and hand-built structures with wood or wire.

This dialogue between contemporary materials and traditional methods is central to my work. Sewing becomes a sculptural language, a way of suturing new forms into being. Synthetic padding becomes muscle and flesh.

Like a scientist in a lab, I run experiments in form and material — combining the precise with the absurd, the fragile with the monumental. Each piece is both an artwork and a question: what else can these materials do, and what futures can they help us imagine?